lux

A peak of Rock

It's helpful to read the last comment every now and then :-P

Sure, few words.

After a "Dub Housing" characterized by sound epileptic convulsions at the limit, in 1979 it's the turn of "New Picnic Time," and the difference from the debut is immediately felt. Where the Dance rose over dusty industrial landscapes, here it seems that Thomas & Co. awkwardly and slowly move through the ocean depths. Perhaps due to the influence of Mayo Thompson, the sound shifts markedly towards psychedelic shores. The instruments almost completely lose their old garage charge, dulled by the liquid atmospheres that permeate the album. The avant-garde does not suffer from this; indeed, it is even accentuated, and the echoes of Beefheart and Red Crayola are more evident than ever.

The opening track "The Fabulous Sequel," one of the strongest pieces, showcases the typical Pere Ubu style. But right from the following song, "49 Guitars & One Girl," we plunge into an obsessive dadaist whirlpool. "A Small Dark Cloud" features concrete music with a Thomas that sings incoherently and apocalyptic yet scattered and fragmented percussion amidst the sonic chaos. The apathetic guitar chords of "All The Dogs Are Barking" lazily drag on for three minutes while David recites his most listless script yet. "Make Hay" evokes the unforgettable quirky funk of "Humor me," enhanced by a deranged rock-blues intro. In "Goodbye," the tension rises to a peak as Ravenstine builds a synth bridge that spans the entire piece, akin to a galactic siren, while the organ intervenes to heighten the drama, making it feel more human. "Voice In The Sand" is perhaps the most intense moment, depicting a post-apocalyptic scenario after the conclusion of a nuclear war. However, its scarce one and a half minutes could have developed in a more interesting way, resulting in an idea that feels merely hinted at and incomplete.
The shy tribalism of "Kingdom Come" concludes this outing, which is more impressionistic compared to the past, where some passages seem to propose a more hedonistic and self-indulgent view of the Pere Ubu reality (as much as that’s possible for such a band), perhaps because the Cleveland group's sound was crystallizing into a highly recognizable and personal style, which, album after album, inevitably was no longer an absolute novelty, despite the undeniable stylistic evolution that occurred with this tasty Picnic.

Certo, inviami pure il testo e procederò con la traduzione.

Well, there's no need for you to be offended.

Nothing, the more I listen, the more it bores me... what an anthem to musical onanism Africastle!

A step back from Mirrored. The absence of Braxton is felt; at times it seems like they are playing leftovers from the previous record. Futura is the path to follow for the (c'mon) future.

Well, some things never change, like the uselessness of certain bands.