Kara's Flowers
The Fourth World

September 16, 1995, fresh post-grunge era. On the stage of Whisky A Go-Go in Los Angeles, a very young group led by singer-frontman Adam makes its debut, in love with American college-rock and British pop-rock which was then taking off overseas: they are called Kara's Flowers. In a short time, the band attracts the attention of many music producers and becomes the most sought-after unsigned band in the United States. Reprise Records wins out, and in mid '97 (preceded by the single "Soap Disco", a pop-rock bomb à la Weezer reminiscent of the classic "Buddy Holly") their debut "The Fourth World" is released.

The album itself is a very pleasant amalgamation of sounds cherished by certain American college rock, combined with a typically British melodic sense and the unique nasal voice of the frontman. Past "Soap Disco", "Future Kid" contrasts a slow verse with a chorus dominated by grating post-grunge guitars. The following "Myself" mixes Blur of "It Could Be You" with a melodious turn once again in Weezer style. "Oliver", on the other hand, continues with the already established blueprint but flirts with more danceable aspirations. "The Never Saga" is an admittedly somewhat cloying American FM midtempo, while "Loving The Small Time" hits again with a bold riff. "To Her With Love" is a grand acoustic ballad intoxicating like spring water, and fortunately, the next "Sleepy Windbreaker" picks up the pace again. "Pantry Queen" is another ballad (this time electric) and pairs with "My Ocean Blue" (the latter endowed with a well-paced and pleasant ending). It closes with the second single "Captain Slendid", a tear-jerker that explodes in a finale dominated by strong guitars.

Excellent album, therefore, but unfortunately, the success will be very limited (despite a nauseating appearance on "Beverly Hills 90210" with "Soap Disco").

Frontman Adam Levine, after adding a new member (James Valentine), will change the band's name and move towards more funky and black sounds. They will become the very commercialized and overexposed Maroon 5. Ah, filthy lucre... what a pity.