Experimental Pop Band
(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )

Woof , 6/10
Discgrotesque , 5/10
Homesick , 4/10
The Tracksuit Trilogy , 4/10
Tarmac And Flames (2003), 4/10
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The Experimental Pop Band was formed in Bristol (England) by Davey Woodward, who had already led a mediocre pop outfit, the Brilliant Corners, whose albums Growing Up Absurd (SS20, 1985), with Meet Me On Thursday, What's In A Word (SS20, 1986), with Laugh I Could've Cried and Somebody Up There Likes Me (McQueen, 1988) were among the most tedious and predictable of ornate Brit-pop.

The new group debuted with the EPs The Lounge (Swarf Finger, 1996) and Experimental Pop Band (Swarf Finger, 1996). The former features a half-hearted attempt at pop-soul (James Remains) and an effervescent novelty (Les Chanteurs Et Le Grand Orchestre), but little of notice. The latter toys with trip-hop (Boutique In My Backyard) and drum'n'bass (Oslo). The Eps were collected on Woof (Swarf Finger, 1997).

Discgrotesque (Swarf Finger, 1998) jumps on the trip-hop bandwagon, albeit bridging it with bubblegum and soul. Not a terribly original move.

Homesick (Swarf Finger, 1999) is equally unimaginative in its high-tech interpretation of easy listening and lounge music.

The Tracksuit Trilogy (Swarf FInger, 2001) and Tarmac And Flames (Cooking Vinyl, 2003) are even less original revisitations of pop stereotypes.

(Translated by Nicola Mecca)

La Experimental Pop Band Ŕ formata a Bristol (Inghilterra) da Davey Woodward, che aveva giÓ guidato un mediocre gruppo pop, i Brilliant Corners, i cui album (SS20, 1985), con , What's In A Word (SS20, 1986), con Laugh I Could've Cried e Somebody Up There Likes Me (McQueen, 1988) offrivano agli ascoltatori un Brit-pop banale e tedioso.

Finger, 1996) ed (Swarf Finger, 1996). Il primo raccoglie una prova pop-soul priva di entusiasmo () ed una effervescente novitÓ (), ma tutto sommato di scarsa rilevanza. Il secondo gioca con il trip-hop (Boutique In My Backyard) ed il drum'n'bass (). Gli Ep sono raccolti su (Swarf Finger, 1997).

(Swarf Finger, 1998) segna una conversione al trip-hop, colorandolo di sfumature bubblegum e soul. Una mossa non tanto originale.

(Swarf Finger, 1999) Ŕ almeno altrettanto poco ispirato nella sua interpretazione high-tech di easy listening e lounge music.

(Swarf FInger, 2001) e (Cooking Vinyl, 2003) sono rivisitazioni anche meno originali di stereotipi pop.

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