Whipping Boy
Heartworm

THE REVIEW

Courageous alternative to that britpop, whose glamour overshadowed them, the Irish band Whipping Boy is one of the most mortifying examples of how a record label, and not belonging to a particular trendy genre, can negatively affect an artist's fate. Indeed, after their debut in 1992 on an independent label (Liquid), with the album ''Submarine'', Whipping Boy moved to Columbia, maintaining, however, their status as an alternative band unchanged. But I don't think that was really desired. With ''Heartworm'' in 1995, these four guys had, in my opinion, everything they needed to at least enjoy a decent following; they were certainly not a band for hits or chart primacy, nor was their music carefree, but I believe the selected ingredients were the right ones: dark atmospheres and melodies, which, however, often culminate in explosive and captivating choruses, that existentialism in the lyrics which, from Joy Division to present day, has never been disliked and, above all, a sound that perfectly matches the needs of those, like me, who love to listen to music with headphones. Despite some chords being authentic electric jolts, there is no perceived ''noise,'' that dirty sound so dear to grunge. No smudges, no feedback; even in the aforementioned debut ''Submarine'', which approached grunge sounds (after all, that was the period), the most abrasive of chords reached the ears with extreme clarity. As if to emphasize that they have no intention of imitating anyone.

Yet the album did not break through; precisely Great Britain, which constantly strives to find the ''next big thing,'' seemed not to notice the talent of this band and did not give them the recognition they deserved, something the specialized critics had done. It may be, as I said at the beginning, that Columbia did not bother to properly promote the band, did not advertise its image, and it may be that, compared to britpop, Whipping Boy followed a completely different path, perhaps claiming a certain authencity.
Indeed, listening to the intro of ''Twinkle'', there is a sense that, with that typically Irish violin, the band wants to remind us that, despite trying to reach international fame, their roots are Irish, and against any stylistic compromise, they do not intend to give them up. Rock emphasis and dark shades cleverly dosed, make this song an excellent start, suitable to pave the way for the listener. ''When We Were Young'' is the ideal single: catchy melody, gritty chorus, completed by a beautiful, nostalgic text. Listening to the song it makes you wonder if Ligabue was inspired by this for ''Questa E' La Mia Vita.''
The third single is ''We Don't Need Nobody Else'', a (rather dark) love song in which Fearghal McKee manages to be expressive without ''intoning'' a single note until the second chorus. It's a spoken song, a sort of reflection on some moments of a couple's life, surrounded by a melody suggesting an atmosphere more disenchanted than melancholic. McKee's voice is not that of a screamer; decontextualized it would also sound quite anonymous, but in relation to what Whipping Boy plays and talks about it is definitely perfect. This is demonstrated both by the softer pieces (there is no slow ''stricto sensu'') like ''The Honeymoon Is Over'', characterized by a beautiful final crescendo, and ''Personality'' with its orchestral arrangement, as well as the rock pieces like the upbeat ''Blinded'' and ''Fiction'', in which McKee, aware of his ''tones,'' manages to be so intense that imagining any other interpretation is impossible.

After ''Heartworm'', Whipping Boy could no longer replicate their success, and after their eponymous album in 2000, decent all in all, they faded into oblivion, as often happens to many alternative bands that did not have enough success to become a cult band. The potential was there. What a shame.

As they say, the right band in the wrong place at the wrong time.