Bush
The Sea Of Memories

Often labeled as the failed British response to American grunge, they have always taken inspiration from their more revered overseas colleagues but have never disdained a 'cooler', warmer, and generally more melodic approach. Indeed, it makes me think of their classics like "Everything Zen" or the beautiful "Glycerine".

Today, 17 years have passed since Cobain's death, followed by Layne Staley in the afterlife in 2002, and yet Gavin Rossdale's Bush, despite the skeptics, are still there, returning after 10 years of silence with "The Sea Of Memories".

An excellent opening with "The Mirror Of The Signs" and whether it is called grunge or alternative rock doesn't matter, what matters is that it convinces. I was pleasantly surprised when I accidentally heard the single "The Sound Of Winter" on Virgin Radio, one of the album's peaks, and I thought: "if Rossdale still shows he can write this way and the band can put up such a musical structure, the album will be of excellent quality". To demonstrate that, all in all, my predictions weren't entirely wrong, there is also a good track like "All My Life", further reminding us that we are in 2011 and if rock isn't dead, it's in a coma, greatly suffering under the pressure of money. There are pieces like the catchy "Afterlife" and the piano in "All Night Doctors" which don't fully convince, and particularly feel a bit forced. Continuing with the album, there don't seem to be any particularly brilliant episodes; after a couple of reused sounding tracks, there are overall pleasant pieces like "She's A Stallion" and "Stand Up" while "The Heart Of Matter" seems to put the album back on the good tracks of the first pieces, but it's not enough. Closing the album is the slow "Be Still My Love" which, despite the slow rhythms, does not disgrace. Notably, several tracks feature phrases spoken by a female voice, phrases seemingly unrelated to the track, but perhaps united by a single meaning.

In conclusion, we can say that Bush still have their value and specific weight, but 10 years after the last official album, they probably could have done something more. In general, it seems almost as if they limited themselves compared to their actual potential, but it's also fair to highlight that the London band is no longer young, with Rossdale and the drummer Robin Goodridge nearing 'fifty'. All in all, a welcome return even for those who, after years, see behind them the ghosts of Cobain and company, ghosts now seemingly forever banished with a sound far from the nostalgic '90s grunge, perhaps lost in the depths of the English band's 'sea of memories'.