1953 (Homestead, 1996) is even too eccentric and eclectic.
The christian rap of Junca De Sol Andromeda and Graveyard Style
is intriguing for a few minutes,
but too many tracks are trivial exaggerations of alternative rock cliche`
(the punk-rock of Quite Alright Rockers,
the angular pop of Poker Of The Eye)
and too many sound like the same sarcastic sermon that he's been singing for
years (Young Businessmen Psychik Makeout, Wax Presidential).
Galloway's christianity does get on the listener's nerves very early in the
album. As a matter of fact,
Galloway's genius is better on display in the surreal instrumental vignettes of
Atonal Eternal and Three Thousand Thirsty Thoughts, that rival
Pere Ubu's instrumentals. Unfortunately, the price to pay is the rest of
What is usually a bonus track materializes here as a full-fledged 42-minutes
"bonus record". Surprisingly (well, unsurprisingly, given the quality of
the main record), the bonus tracks fare well, especially
Put Wings On Things and I Blame You Stallion that could easily
rank among his best.
1955 (Jackson, 1999) is an even more pretentious collection of
hip hop. dub, reggae.
While still tinkering with the ruins of hip hop and drum'n'bass,
1956 (5 Minute Walk, 2000)
may signal a re-discovery of the traditional song format by Galaxy,
less cacophonous and free-form, and more keen on borrowing "ambience" from
modern dance styles.
Unfortunately Galaxy keeps diluting his best material over several albums,
wasting the opportunity to produce one great album.
1957 (Sounds Are Active, 2002) and the EP 1938 (SDRecords, 2002)
overflow with eccentric and powerful ideas, but also contain an amazing
amount of filler (particularly the latter).
The album is less cohesive than previous ones and relies on the occasional
well-formed paradox to succeed:
Non-Linear, Horse Posing as Unicorn,
Ungst Func Slag Collision, Innerspacemen, Vesuvius.
Galaxy keeps displaying a talent for more conventional formats,
whether dreamy trip-hop balladry (Jelly Wings) or
the vernacular of roots-rock (Ruby Doomsday).
Galloway seems to be getting more chaotic and dissonant as he gets older.
1958 (Sounds, 2003) is his most incohesive and anarchic work yet,
surveying the entire spectrum of musical genres and dispensing of regular
rhythm as if it were a distraction.
Quiver Society (2007) opened a new project: singing the whole Bible,
starting with the first 23 psalms.
1953 (Homestead, 1996) continua nella sperimentazione anche troppo
eccentrica (una bonus track che dura 42 minuti, arrangiamenti elettronici,
una varieta` stilistica che rasenta il delirium tremens).
(Translation by/ Tradotto da xxx)
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