War On Drugs


(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )
Wagonwheel Blues (2008), 6.5/10
Future Weather (2010), 6.5/10 (mini)
Slave Ambient (2011), 7/10
Lost in the Dream (2014), 6.5/10
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The War On Drugs, from Philadelphia were the project of singer-songwriters Adam Granduciel and Kurt Vile. They delivered solid if trivial Bob Dylan-inspired and Tom Petty-inspired elegiac folk-rock under the influence of Arcade Fire on Wagonwheel Blues (Secretly Canadian, 2008), such as Arms Like Boulders, with the notable exceptions of the celestial A Needle in Your Eye #16 and the ten-minute Show Me the Coast

The mini-album Future Weather (Secretly Canadian, 2010), recorded without Vile, plunged into even gloomier territory with the pounding Bruce Springsteen-ian rockabilly rush of Baby Missiles (possibly Granduciel's best song yet), the Dylan-tinged country ballad Brothers and Comin' Through.

Other than merely reprising the best songs from the previous mini-album, Slave Ambient (Secretly Canadian, 2011) mostly invested on improving the audio experience, pushing the envelop with the textural quasi-shoegazing sound of Blackwater, while decorating with loose guitar, piano and harmonica jamming the tender country-rock of I Was There. A desolate philosophical tone fuels the dreamy, Byrds-ian Best Night and the thundering keyboard-laced lament Come to the City. But then the stratospheric electronic rockabilly Your Love Is Calling My Name (sounding like a folk bard's remix of Deep Purple and ZZ Top) gives the whole show a new ferocious meaning.

(Translation by/ Tradotto da Alessio)

I The War On Drugs da Philadelphia sono il progetto tra il cantautore Adam Granduciel e Kurt Vile. Il lancio su  Wagonwheel Blues (Secretly Canadian, 2008) è un solido ma triviale folk-rock elegiaco ispirato tanto a Dylan quanto a Tom Petty, il tutto sotto l’influenza degli Arcade Fire, con canzoni come Arms Like Boulders, con la notevole eccezione della celestiale A Needle in Your Eye #16 e i dieci minuti di Show Me the Coast.

Il mini-album Future Weather (Secretly Canadian, 2010), registrato senza Vile,  s’immerge in quieti e malinconici territori con il rullante rockabilly alla Bruce Springsteen di  Baby Missiles ( che forse rimane la miglior canzone di Granduciel) e la tintinnante ballata country alla Dylan di Brothers e Comin' Through.

Oltre a riprendere semplicemente le migliori canzoni dei precedenti  mini-album, Slave Ambient (Secretly Canadian, 2011) investe maggiormente nell’incrementare l’esperienza audio, spingendo sullo sviluppo di tessiture quasi shoegaze in Blackwater Falls, mentre decora con chitarre dondolanti  l’incastro tra piano e armonica del tenero country rock di  I Was There. Toni desolati e filosofici riempiono la trasognata Best Night, in stile Byrds, e Come to the City  con le sue fragorose tastiere accompagnate da un lamento.  Ma è con lo stratosferico rockabilly elettronico di Your Love Is Calling My Name ( che suona come un poetico remix folk di Deep Purple e ZZ Top) che il tutto assume un nuovo feroce significato.

Perhaps influenced by the commercial success of the synth-pop revival of the 2010s, Adam Granduciel went for the dancefloor on Lost in the Dream (Secretly Canadian, 2014). The opener, Under the Pressure, aims plainly for the dance club, despite semi-spoken Bob Dylan-ian vocals. The more atmospheric and catchy Red Eyes (and possibly catchiest of his career) harks back to Billy Idol and crosses his industrial beat and robotic delivery with Bruce Springsteen-ian pathos. The album is weighted down by songs that test one's patience: the endless litany Suffering; the pop-soul electronic ballad Disappearing (ghastly visions of a resurrection of Yazoo or of the 100th Depeche Mode album); the tedious elegy Lost in the Dream; the pensive closer In Reverse that makes even Cat Stevens look like a philosopher; or An Ocean in Between the Waves, that sounds like U2 at their most moronic fueled by a robotic techno beat and an elastic bassline, all wrapped up in romantic synth drones. It is also embarrassing how derivative songs such as Eyes to the Wind (an impeccable imitation of Tom Petty's folk-rock) and Burning (which almost plagiarizes Springsteen's Dancing in the Dark) are. This band is building a career how of photocopying those three generations of bards (Dylan, Springsteen, Petty). Anybody who thought that roots-rock of the USA was terribly provincial was just served a major proof. On the upside, there is certainly elegance and competence in the way trance-inducing pseudo-psychedelic guitar effects add a layer of meaning to simple songs, and there is certainly a great hidden contribution by pianist Robbie Bennett (Granduciel's Al Kooper?), and more intelligent use of the synthesizer. And there are certainly some great refrains (mainly Red Eyes).

(Translation by/ Tradotto da xxx)

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(Copyright © 2006 Piero Scaruffi | Legal restrictions - Termini d'uso )
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