2000s Punk Rock2000 Punk Rock
U.S. India 2000s | turrefaction
I wonder where Steve Gunn finds time to sleep. A suitable movement based on a sound without stylistic characteristics, on songs that know how to hold, attracts attention to a modern artist who knows his business and consequently absorbs everything to release it in hybrid forms. It was Benedetta's older sister who provided him with tapes during a youth period between rapp and punk music.
In this way he combined psychedelia, folk, land and radio with the open and fruitful spirit that was later inspired by Indian and Gnawa traditions, La Monte Young and the "transversal" scene of Philadelphia. Approach reproduced by the new work - the second designer Matador - The Unseen Inetween with a basic distinction.
Unfortunately the boy has lost his father and finds himself confronted with sadness through an "important" record: for an improved vocal style for the benefit of self-observation, for the presence of Tony Garnier, bassist and arranger of Bob Dylan, for the breath of the instrumental textures. He writes "Allmusic" that the cover reminds of mid 60s vinyl and invites Bert Jansch.
I divide, I add Bleecker & McDougal to one of Steve's points and release the case depicted on The Unseen Inetween to spread his psychedelically colored Folk Rock since New Moon, a sensational initit in which David Crosby and Fred Neil - whose influence also permeates the sweet Luciano jazzy folk - rewrite Triad between sparkling electric reverberations.
It would be enough, but because it's a talent that absorbs and releases here, Lightning Field is dusting over the channel (Morning Is Mended) from an American who has been re-created (Chance) or wrapped in acoustic melancholy (LSD) elsewhere (Steve Gunn). Disc for disc, he adjusts the shot and shoots the cards, because in addition to talent and sensitivity, he has also imprinted the determination to surprise in his own DNS.
Good for us who never know what to expect and good for those who have earned a place in the Microcastle annals. Ten and broken years ago, the difficult third record (released so as not to deny itself as a couple with the introverted weather land Éra Cont.) made an indeie rock marked by loud sounds and hard rock, dissolved in lo-fi, psychedelia, schoegaze, cabaret, lysergic fok, more attentive to the song... This is how a contemporary classic of transversality far removed from autism, of languages that are even recognizable in the synthesis of models, came into being.
Defined by the directly interested "nocturnal garage", he added to the recipe of glam, countryside southista, shady ballads and fancy indies radio, at the risk of being the final legacy (worst of all was former bassist Josh Fauver, who died last fall). Why Hasn't Everything Already Disappeared continues the praise of diversity from an unplanned Genesis.
Convincing, concise and multi-facetted, Why Hasn't Everything Already Dissappeared shows directions known only to its creator. Good for him and good for us, I repeat.