The Spinto Band
Nice and Nicely Done

THE REVIEW

The musical year 2005 was the year of rock bands from across the Channel or thereabouts, the year of next big things more acclaimed than ever by the London press. In hindsight, I can now say that only a few bands managed to win me over, and none of them were English, but rather American like "Spoon" and "the The Spinto Band" which I am now going to review. These seven Americans went practically unnoticed in the indie scene, overshadowed by the likes of Arctic Monkeys or Maximo Park and countless groups of varying talent. The reason, beyond the fact that they are not English, must perhaps be sought in their musical offering. Completely counter to the post-punk/new wave that characterizes a bit all the new rock bands. "The Spinto Band" offers an old-fashioned rock if you will, an atmospheric rock focusing on the singer's delicate voice, soft guitars, mandolins, and keyboards à la Hot Hot Heat. Their music is pure poetry, it is a sunny pop that takes some cues from bands like The Shins, for example, but with a way of doing things all their own, they are radiant, fresh, and, although young, fearless. The album consists of many gems, especially "Oh Mandy" which, be careful, is not a cover of Barry Manilow, but rather a great piece where the singer's whispers are accompanied by a mandolin, which starts off in U2 style and then carries on in perfect melody creating a relaxing yet at the same time fun song that ends up getting stuck in your head. The album maintains good levels up to track 6, and then with "Crack The Whip" a pop with New Wave hints à la Franz Ferdinand, it definitely climbs in tone and really makes you fall in love with this album. Song number seven is perfect for a Tom & Jerry cartoon complete with a gentle breeze in the background, and dark sounds that somehow evoke a Christmas atmosphere. Then we have "Late", a good rock with drums accompanying a wild piano, truly "supersonic". Track nine is an enveloping rock ballad with an absolutely catchy chorus thanks to the always very prominent piano. Number ten turns out to be the one with the highest rock rate, guitar and bass are for the first and only time the real stars, but the sound still remains very "sweet" thanks to the singer's shy voice. In the last track hides another great song, brit pop played wonderfully, engaging, Pavement style, one of those songs you never forget and gladly listen to a dozen times over. They are a mix of Pavement, Grandaddy, Shins but with their originality in the lyrics and in some very particular arrangements, which I honestly don't recall having heard. In the liveliest year of indie rock, among Bloc Party and Maximo Park, this was just what was needed... too bad it went practically unnoticed!