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Versione 1
Rating:
Consonances and marches, delicacy and childlike sass; traces of caresses after a barrage of injustices. Never so in focus, as in a while, the Scottish band of the “C86” generation, supported by the now over-fifty Duglas Stewart, continues, in its semi-anonymity, to produce beauty for a select few.
Forever is as sweet and innocent as an animated strip with Play-Doh protagonists: something halfway between a documentary from the late Educational Department and a hit of acid, the kind that sweeps you away.
The influences, as always, draw on psychedelic elements concealed by gentle harmonies, a practice reminiscent of the Beach Boys of Pet Sounds, if you know what I mean, or American commercials with kids playing after brushing their teeth with Colgate. And then a touch of old Broadway and a respectful sprinkle of Morricone, the kind that adds a sexy flair to passionate scenes in seventies films (you get it, I know).
And in this progression, enriched by Beatles-like interludes (also thanks to the collaboration of Dr Cosmo's Tape Lab), there’s also a featuring with another great misfit in modern music: Anton Newcombe of the Brian Johnston Massacre, in a track that hints at America (both the nation and the band) and the Byrds (the band and 'what have you...').
Forever is the perfect album to rejuvenate after a three-day mandatory health treatment; it’s benzodiazepine-like in its advancement and at times, in its good and consonant outcome, seems to leave you no escape. Usually, people who see good beyond good and evil are either blissed out or risk wandering around the station looking for unsoiled cardboard to use as a blanket.
Cobain liked this eccentric collective of losers. Cobain liked the outsiders, above all the bipolar Daniel Johnston, but one day he said that if he hadn't formed Nirvana, he would have liked to join the Bmx Bandits. Paradoxically, Cobain is more alive in death, with all his mythology in tow, than a biologically alive and unjustly underrated band, especially in this latest discographic outing, truly delightful.
It seems that Scotland, this year, wants to be present in my top 3 albums of the year: between this and “I will kill again” by Meursault, it will be a beautiful and peaceful struggle. Imagine a war of flowers and colorful balloons. Maybe even fears will pass.
Tracklist
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