Here Come The Tears...
Here's my unbiased review of The Tears new album...
Once upon a time when most of the world was listening to Grunge, along came a band called Suede. They burst onto the scene oozing style and sex that hadn’t been seen since the Glam years and paved the way for the Britpop movement that was soon to follow. Unfortunately, Suede had too many Chiefs and not enough squaws as singer Brett Anderson and guitarist Bernard Butler both had ego’s far too large for one band. Ultimately Bernard walked away and although both went on to have successful careers, they never captured the initial success they had together.
The Tears may change all that.
Here Come The Tears is the first album from the newly reunited Brett and Bernard. Gone are the grit and androgyny of the Suede we once knew and loved, replaced instead by an older and more melodic musical landscape from a couple of Britpop geezers!
The triumphant Refugees seems to pick up right where Suede left off, followed by a Smithesque riff ala “What Difference Does It Make” on Autograph. Co-Star is reminiscent of Pulp’s “Underwear,” and Imperfection features a wall of sound that Phil Spector would be proud of. The Ghost of You brings to mind Blur’s “Yuko and Hiro,” Two Creatures could have been in Rocky Horror (the guitar riff sounds like “I Can Make You A Man!”), and the celebrated Lovers is by far the best track on the album. Fallen Idol sounds like a Noel-sung Oasis song- one that Liam refuses to sing, Brave New Century sounds like Filmstar without the nasty guitar and attitude, and Beautiful Pain’s soaring chorus makes you completely forgive the less than memorable verses. The Asylum starts out sounding like "Champagne Supernova” but goes nowhere, Apollo 13 sounds eerily similar to Rialto’s “Deep Space,” and the album ends with A Love As Strong As Death which could be on the soundtrack for the next far too intelligent novel turned indie flick of the week.
Here Come The Tears may not be for the "New Generation" of Popsceners, but for those of us who were there in the beginning, the gradual transition from Glam to MOR is a welcome one.
Once upon a time when most of the world was listening to Grunge, along came a band called Suede. They burst onto the scene oozing style and sex that hadn’t been seen since the Glam years and paved the way for the Britpop movement that was soon to follow. Unfortunately, Suede had too many Chiefs and not enough squaws as singer Brett Anderson and guitarist Bernard Butler both had ego’s far too large for one band. Ultimately Bernard walked away and although both went on to have successful careers, they never captured the initial success they had together.
The Tears may change all that.
Here Come The Tears is the first album from the newly reunited Brett and Bernard. Gone are the grit and androgyny of the Suede we once knew and loved, replaced instead by an older and more melodic musical landscape from a couple of Britpop geezers!
The triumphant Refugees seems to pick up right where Suede left off, followed by a Smithesque riff ala “What Difference Does It Make” on Autograph. Co-Star is reminiscent of Pulp’s “Underwear,” and Imperfection features a wall of sound that Phil Spector would be proud of. The Ghost of You brings to mind Blur’s “Yuko and Hiro,” Two Creatures could have been in Rocky Horror (the guitar riff sounds like “I Can Make You A Man!”), and the celebrated Lovers is by far the best track on the album. Fallen Idol sounds like a Noel-sung Oasis song- one that Liam refuses to sing, Brave New Century sounds like Filmstar without the nasty guitar and attitude, and Beautiful Pain’s soaring chorus makes you completely forgive the less than memorable verses. The Asylum starts out sounding like "Champagne Supernova” but goes nowhere, Apollo 13 sounds eerily similar to Rialto’s “Deep Space,” and the album ends with A Love As Strong As Death which could be on the soundtrack for the next far too intelligent novel turned indie flick of the week.
Here Come The Tears may not be for the "New Generation" of Popsceners, but for those of us who were there in the beginning, the gradual transition from Glam to MOR is a welcome one.
posted by Michael Charming at 11:42 AM
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