Elbow
Asleep in the Back

THE REVIEW

The English band Elbow is one of those groups that, as soon as you discover them, you find yourself thinking: "These guys are good... but why am I only discovering them now?" Immediately after, you realize that they are also one of those bands that deserves more attention.

Asleep In The Back is their dazzling debut dated 2001. It is probably their best work (though the two subsequent ones are still of high level) and, in the pop-rock scene, absolutely one of the best debuts of recent years, at least alongside that of Arcade Fire and Interpol.

What kind of music do these Elbow play? Some have found affinities with various melancholic pop bands from overseas, but I think it would be a gross mistake to compare them to Coldplay rather than to Starsailor. In the opinion of the writer, Elbow not only are more gifted from a compositional point of view, but they are certainly more eclectic: for example, they often leave aside the classic song form, preferring tracks longer than average. I would add that they are better than the aforementioned colleagues in giving shape to each song with wonderful arrangements. It would hardly be an exaggeration to say that these guys, while having their own identity, have absorbed and metabolized the lessons of Radiohead, especially those from "The Bends" and "Ok Computer".

The introductory "Any Day Now" is one of the most original tracks in the batch; probably a bit unusual within their production, yet we are in front of a great song: hypnotic, alluring, and duly reiterated; the following "Red" better focuses the "Elbow essence": a piano, strings, and punctual drums pave the way for a touching melody supported by Garvey's splendid voice.
The album's highest point, however, is reached with "Powder Blue": an absolute masterpiece to be included among the best tracks of the 2000s. Think of a less schizophrenic "Paranoid Android"; beautiful piano and perfectly fitting that just hinted sax at the end; crimsons echoes sneak into the listener’s ears. Impossible not to be won over: chapeau.
Noteworthy are also "Newborn", a bold single with its seven and a half minutes, and the seductive "Coming Second" with its dark and sinister atmosphere. The album concludes as well as it possibly could with "Scattered Black And Whites": a dreamy and sweet ballad enhanced by a fitting arrangement.

Like all albums of value, Asleep In The Back requires multiple listens; initially it might even seem a bit challenging, but it will win you over afterwards.

Highly recommended.