Trespassers W

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

Dummy (1988), 7/10
Roots And Locations (1991), 6.5/10
5 4 3 2 1... 0 , 6.5/10
Who's Afraid of Red, Yellow and Blue , 6/10
Fly Up In The Face Of Life , 6/10
Leaping The Chasm , 6/10
Vlucht Over Den Haag ,
Sex and the End of It (2003), 6/10
The Drugs We All Need (2005), 5/10

Dutch band Trespassers W were originally (1984) the project of Cor Gout (vocals/lyrics) and Wim Oudijk (instruments/arrangements), members of a larger counter-cultural commune in the Hague. Their prehistory is told by the single Burn It Down, the album Straight Madness (TW, 1985) and the EP Paris In Between The Wars (TW, 1986). Expanded to a quintet (Cor Gout, Lukas Simonis on guitar, Frank van den Bos on keyboards, Ronnie Krepel on bass, Bart Vos on drums), Trenspassers W released the album Pretty Lips Are Red (Dead Man's Curve, 1987), a provocative and genre-defying works, followed by the cassette The Ghost Of The Jivaro Warrior (1987). Frank van deb Bos on keyboards was rapidly becoming a key factor for their sound.

The double-album Dummy (TW, 1988) introduced their major phase. The title-track of Potemkin (TW, 1989) is a side-long suite about Eisenstein's film. The cassette Aimez-vous Trespassers W (Underground Productions, 1990 - Progressive Entertainment, 1994) shows a maturing sound that relies ever more on Frank van deb Bos' keyboards and Frans Friederich's horns.

(Tradotto da / Translated by Carlo Crudele)

La band tedesca Trespassers W era originariamente (1984) il progetto di Cor Gout (canto e testi) e Win Oudijk (parte strumentale ed arrangiamenti), membri di una piu` grande comune di controcultura nell'Aia. La loro preistoria e` narrata dai singoli Burn It Down, dall'album Straight Madness (TW, 1985) e dall'EP Paris In Between The Wars (TW, 1986). Passati a quartetto, i Trespassers W fecero uscire l'album Pretty Lips Are Red (Dead Man's Curve, 1987) e la cassetta The Ghost Of Jivaro Warrior (1987). Frank Van Deb Bos, tastierista, stava rapidamente diventando il leader del gruppo.

Il doppio Dummy (TW, 1988) sanci` la loro fase migliore. La title-track di Potemkin (TW, 1989) e` una suite lunga un lato intero sul film di Eisenstein. La cassetta Aimez-Vous Trespassers W (Underground Productions, 1990 - Progressive Entertainment, 1994) dimostra un sound piu` maturo che gioca piu` che mai sulle tastiere di Frank Van Deb Bos e sui fiati di Frans Friederich.
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Dopo questi album di armonie tormentate e di arrangiamenti tastieristici da incubo freudiano, i Trespassers W tornarono alla luce con il concept filosofico Roots And Locations (TW, 1991), al quale collaborano diversi musicisti (fra cui il trombettista Frans Friederich). Nel frattempo aveva inizio una serie di cassette a tiratura limitata, fra cui quella poi ristampata su Dance (EE-Tapes, 1996).

5 4 3 2 1... 0 (TW, 1993) ha allentato un po' la tensione emotiva, ma al tempo stesso focalizzato meglio le forze del gruppo. La magia del loro sound va ricondotta a un'improbabile fusione del cabaret di Kurt Weill e di testi cattedrattici. L'album e` dilaniato da psicodrammi d'intensita` wagneriani come Riefenstahl, da complesse allegorie come Munch e da apologhi metafisici come The Sea And The Moon. L'EP Boekelaar (ND) comprende scarti dall'album. L'EP Heck (Bright Green) e` un'antologia del primo periodo.

Who's Afraid of Red, Yellow and Blue (Organic, 1993) riporta invece il gruppo nei ranghi della musica rock piu` convenzionale.

Fly Up In The Face Of Life (AMF, 1996)

Il singolo politico Save The Dormhouse (Moloko, 1998) e` "parlato" invece che cantato su uno sfondo folk-psichedelico.

Leaping The Chasm (Organic, 1999), Vlucht Over Den Haag (Snowdonia, 2001) The Sex and the End of It (Somnimage, 2002) sono i nuovi album concept.

Gruppo sinceramente politicizzato e ferocemente indipendente, i Trespassers W sono stati fra i fenomeni piu` originali del continente.

Sex and the End of It (Somnimage, 2003) is typical of the way it employs a cornucopia of musical/narrative devices, from spoken dialogue to country-rock yarn () to cabaret rigmarole (Bananalities) to cool jazz (La Revue Negre). Perhaps that is also the limit of these ambitious works: they sound fragmented and incomplete, no matter how much care the group puts in assembling the parts. The quotations from the history of rock music (Tubular Belles, Moi Non Plus) are amusing but inconsequential. Some surreal vignettes (Stiletto, God And The Girl In The Window) are pure genius, though.

That was the first part of a trilogy continued with The Drugs We All Need (Somnimage, 2005). This time the style is more down to Earth, roots-rock that quotes even more explicitly from the past, although occasionally (Dumbo's Dream, The Crowd) in a very surreal way, and at least once in a highly evocative way (I'm Not Going To Stay Here Forever, halfway between Scenic and Calexico).

The trilogy ended with The Noble Folly of Rock'n'Roll (2006).

(Translation by/ Tradotto da xxx)

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