Meeting Places
(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )

Find Yourself Along the Way (2003) , 6/10
Numbered Days (2006), 5/10
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Los Angeles-based quartet Meeting Places debuted with Find Yourself Along the Way (Words Music, 2003) in the role of cosmic shoegazers. Scott McDonald's intense strumming and Chase Harris' dreamy chanting pen the transcendental, floating visions of Freeze Our Stares and Same Lies As Yesterday, worthy of the best of the genre, a meeting of Mazzy Star and My Bloody Valentine blessed by the Velvet Underground. The poppier scheme of On Our Own and Blur The Line, on the other hand, is easy-listening for burned-out ravers. The band is far more successful when it blends its oneiric textures with rootsy sources, such as in the sad, folkish, piano-tinged shuffle of See Through You or in the country-ish lament of Turned Over or in the solemn hymn-like Where You Go. As a matter of fact, the gentle lullaby Now I Know You Could Never Be The One pioneers an intriguing dynamics of angelic/anthemic juxtapositions, possibly the album's standout. Take To The Sun, the longest track at six minutes, explores the "cosmic" part of the equation, and takes off to higher orbits on a powerful rhythm (Dean Yoshihara on drums).

Numbered Days (Words Music, 2006) followed faithfully in the footsteps of the first album. The shoegazing paradigm, as framed between Love Like The Movies (languid whisper over boogie-ing piano and distorted guitar) and Sinking Into Stone (hypnotic vocals over martial loud beat of guitars), forms the pillar of the collection. The faster boogie progression (a` la Velvet Underground) of Nothing's The Same or, in the other direction, the evocative pop ballad Mumble stretch the formula a bit. A nostalgic piano refrain in Until It's Gone pays tribute to the influence of Coldplay.

(Translation by/ Tradotto da Paolo Latini)

Il quartetto di Los Angeles Meeting Places debuttano con Find Yourself Along the Way (Words Music, 2003) nel novero dello shoegazer cosmico. L'intenso strimpellio di Scott McDonald e il canto trasognante di Chase Harris tratteggiano le visioni trascendentali e fluttuanti di Freeze Our Stares e Same Lies As Yesterday, degne dei capolavori del genere, un incrocio tra Mazzy Star e My Bloody Valentine contaminati dai Velvet Underground. Lo schema pop di On Our Own e Blur The Line, d'altro lato, č un easy-listening per ravers cotti. La band ha ben pių successo quando unisce le sue textures oniriche con le radici pių intime, come nel triste shuffle pianistico dal sapore folk di See Through You o nel lamento country di Turned Over o nel solenne inno Where You Go. Di fatto, la dolce ninnananna Now I Know You Could Never Be The One pionerizza un interessante dinamica di giustapposizioni di temi angelici e anthemici, ed č probabilmente la gemma del disco. Take To The Sun, la traccia pių lunga con i suoi sei minuti, esplora il lato "cosmico" dell'equazione, e decolla verso orbite pių alte spinta da una ritmica pių potente (alla batteria c'č Dean Yoshihara).

(Translation by/ Tradotto da Andrea Marengo)

Numbered Days (Words Music, 2006) seguiva fedelmente le orme del primo album. Il paradigma shoegazing inquadrato tra Love Like The Movies (sospiri languidi su un piano boogie e chitarre distorte) e Sinking Into Stone (vocalizzi ipnotici, su un ritmo marziale di chitarre), costituiscono il pilastro della collezione. La pių rapida progressione boogie (alla maniera dei Velvet Underground) di Nothing's The Same, mentre, nell'altra direzione, l'evocativa ballata pop di Mumble allarga leggermente la formula. Un nostalgico ritornello pianistico su It's Gone paga un tributo all'influenza dei Coldplay.

(Copyright © 2003 Piero Scaruffi | Legal restrictions - Termini d'uso )
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