Orange Juice's three albums, along with compilations of various shapes and sizes, have floated in and out of print throughout the years. This hasn't made it convenient for anyone curious about the band, whether the interest was sparked by Haircut 100, the Jesus and Mary Chain, Belle & Sebastian, Franz Ferdinand, the unlikely mainstream success of Edwyn Collins' "A Girl Like You," the history of post-punk, or the birth of indie pop.
The Glasgow School, released in 2005 by Domino, contains the band's four singles for Postcard, the bulk of
Ostrich Churchyard (a disc released in 1992, containing early versions of what would become 1982's
You Can't Hide Your Love Forever), a Stars on 45-style version of "Simply Thrilled Honey," and a crude cover of the Ramones' "I Don't Care." For a lot of people, the material here (dating no later than 1981) is where Orange Juice begins and ends. The band signed to Polydor soon after the latest song on this disc was recorded, and they promptly gave their sound a coat of shiny wax — so they helped invent indie pop, only to abandon it before their first album. Though the notion extends throughout Orange Juice's discography, they were nothing if not fearless. What other way is there to describe lyrics like "I wore my fringe like Roger McGuinn's/I was hoping to impress/So frightfully camp — you laughed," or their wholly convincing (if occasionally gawky) way of bouncing the jangly folk-rock of the Byrds off the fat-bottomed disco drive of Chic, all the while creating an identity all their own? Both the singles and the
Ostrich Churchyard takes are as crafty as they are crude, and if you can't get past the amateurishness, there's plenty of winsome attitude to win you over. This disc serves as proof that, along with Josef K, Associates, Altered Images, Simple Minds, Cocteau Twins, and the Scars, Orange Juice helped make Scotland a very productive resource during the post-punk/new wave era.
Egyesével le tudod szedni őket. Remélem ők azok, akikre gondoltál!:+)
Fél füllel már valahol elcsíptem ettől a new orleans-i csapattól néhány melódiát, azonban most érkeztem el arra a pontra, hogy teljes figyelmemet ennek a zenének szentelhessem.
Let’s welcome a new and extremely promising progressive rock act from Israel whose songs stand for a successful balancing act between traditional elements and the future of the genre. The band is called Ephrat, has found renowned supporters in Steven Wilson (Porcupine Tree), who mixed their debut album No One´s Words, and guest vocalists Daniel Gildenlöw (Pain Of Salvation) and Petronella Nettermalm (Paatos), and delivers a colourful mix of European influences and the atmospheric tone sequences of the Middle East - the benchmark data of a new group could hardly be more promising.
Érdekes egy folyományai vannak a progressive zenének. Amerikai pajtásaink megszokottnak nem nevezhető elegyét mívelik a haladó szellemű muzsikának. Kis gyorsulás, metálos aprítás, repülés, csellófutamok, harmóniák, melódiák pasztell színnel végigsatírozva a végére pedig női- és férfi ének váltakozása tesz pontot az ügy végére.
2007 egyik kellemes felfedezettje volt számomra ez a zenekar, kik úgy játszanak progresszív rockot Pink Floyd érezhető nyomdokain, hogy néhol a metálos (bár inkább legyen csak hard rock), máskor pedig a poprockos énjüket kamatoztatják. Vitathatatlanul változatos és fogós album ez az Awakening, melyen a vokalista szerepét 3 tag tölti be: a lágy női, és az őt támogató két férfi ének remekül egészítik ki egymást. Porcupine Tree fanoknak erősen ajánlom, márcsak a 4-es trekk miatt is! Idén jön ki a második lemezük, remélem lesz arra érdemes, hogy kikerüljön ide. :)
