Stellastarr*
Harmonies For The Haunted

THE REVIEW

Released quietly last year and introduced by a simply wonderful cover according to the writer, an irresistible title ("Harmonies For The Haunted"), and a song ("The Diver") among the best emotional experiences of the last five years, the debut of Stellastarr* (New York City, U.S.A.) is a mix of punk, new wave, art-rock, epic ballads, and romantic pessimism.

Not exactly cool types: drummer Arthur Kremer takes the stage half-naked with a huge star drawn on his chest and a physique vaguely reminiscent of a young Woody Allen; the (particularly eclectic) singer Shawn Christensen goes on MTV programs wearing a shirt depicting the worst among the miserable (and billionaire) heroes of Hollywood, and a bit of everything from this world. Characters straight out of those half-gothic half-poetic comics under those arcades in Turin where no one ever passes by.

20% The Cure (that launched guitar of "On My Own"), 20% Joy Division (the relentless drumming of "When I disappear", with the voice seeming to spit into the microphone), 20% The Smiths (the elegant pop of "Love And Longing", with the surreal dialogue between solo and voice in endless lament), 40% myself, with the closing entrusted to the dark gem of "Island Lost At Sea", because when we lose something it's always just before realizing it was already over for quite a while.

Inexplicable how the rules of today’s great music moguls work, the reasons for their promotional campaigns, their money, their tastes, and the tastes of millions of sheep who still believe in this enormous farce that is music nowadays.

After the dark debut of "I Love You But I Have Chosen Darkness", another deeply dark and melancholic record spins with worrying frequency around my parts.

Give it a listen.