"Somehow everything will be a little different than you thought"
- SUCCESS
One doesn't have to wonder too much why these guys have never broken big. They'd fully deserve the "most unmemorable single great band on Earth" title if there was such a thing. For starters, their melodies are usually good enough, but you only notice them after three or more listens, not helped by their feedback drenched, formless guitar lines (they're from Seattle, after all). And with the lyrics being cryptic and metaphoric to the point of bearing no resemblance with everyday concerns, you don't feel like singing their songs down the street much too often. That's the main weakness of their music: technically, there's nothing wrong about it, but when it comes to making you feel something, is just sterile. You're supposed to say "now that's a truly blistering rocker!" or "pretty ballad, isn't it?", not to be blown away or moved to tears. In other words, they're not fun. That's too bad, since singers/songwriters/guitarists Ken Stringfellow and Brian Auer really beat the shit (out) of Oasis and all those lame poppers out there, whoever rhythm section is backing them up. If only were more engaging...
Coming full circle, are we? Realizing that their smart pop
style had no place in today's greedy music industry (if you want proof, read
this
scary article), Ken and Jon cut a low-budget collection of leftovers and called
it quits. Just like at the beginning of their careers, they had found themselves
in a small label without any promotion. Only that this time the record's name
was to be Success instead of Failure. The ironies of life. Anyway,
these are good leftovers, and even if some better versions of them are
available elsewhere, make quite a coherent album.
Good, when not downright brilliant. The opener, "Somehow Everything",
takes you on a brief trip to pop heaven via its warm, fuzzy intro, soaring verses
and breathtaking chorus. It's also a great put-down of guys who believe themselves
to be cool. And are not. No Sir. Come to think of it, the songs here have a
spontaneity to them that is very charming. Witness how they forget to take the
plugs off the guitars at the end of "Fall Apart With Me" (that's nasty!)
or fool around in the studio with the keyboards in the slight, but fun "Start
A Life"! Actually, that one, with its simple "life is so complicated"
thematic (isn't that a contradiction in terms?) makes a great contrast with
all these self-absorbed musical hieroglyphics. "Friendship Of The Future"
is especially confusing in that aspect. Is that a protest song or what? Too
oblique to be effective anyway, but the power of that melody is undeniable.
Same goes for "Grow" and "Fall Song", they're good, but so abstract,
it's hard they could mean something to anybody. And yes, "You're
The Beautiful One" sounds a little like Simon And Garfunkel, but produced
by Lenny Kravitz or something, and "Placebo" (not that Placebo)
reminds of Oasis, but in a good way. Elsewhere, there's "Looking Lost",
which rocks (and I mean ROCKS!), "Farewell Typewriter", a fine pop song,
like Gerry And The Peacemakers on acid, plus the trippy, to be played in the
dark, "Who To Blame", that I don't feel like describing right now (I've
probably done already). So, all in all, we have quite a solid album. I was going
to settle for an eight, but since this is maybe their best, only surpassed by
Amazing Disgrace, that wouldn't make sense.
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No, not tacky country in the Sweetheart Of The Rodeo manner, but something not too distinguishable, either. In a year that also saw the release of Ken's solo album Touched, the Posies briefly reunited (Success was officially their swan song, remember) and recorded this EP (in Barcelona, Spain, no less!), hoping to quench their fans' thirst for new material. However, if four so-so songs is the best they've managed in such a long period, then I hope a proper comeback isn't due anytime soon. They're edging towards a ramblin' acoustic approach that, while pleasant, renders the pop numbers and sludgy ballads dull. "Matinée", for instance, is saved by a crimsonian guitar break, but stuff like this and "Chainsmoking In The U.S.A." Sheryl Crow could do in her sleep. Not that I like her, mind you. After these first two cuts, the pedal steel makes its appearance and, if you're not an aficionado of the genre, you might as well start begging for mercy. I mean, maybe it's just me, but, sincere and all, ain't "With Those Eyes" and "No Consolation" rather forgettable? To their credit, the Posies do pull off really well a spotless Byrds imitation with David Crosby's "Lady Friend". That's a good thing, because if they go bankrupt, they could always make a living as a cover band. Whatever. An interesting listen indeed, but Nice Cheekbones And A Ph.D. isn't worth blowing any money on. I didn't, it was included as a bonus in my Success copy. If you can get it the same way, fine. If not, there are better things to do than chasing some obscure and overpriced EP. Or than reading this review, for that matter.
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