The JangleBox

Indie, Noise, Shoegaze… Music

Dean Wareham: Dean Wareham (Double Feature, 2014)

Dean Wareham

Viejos Conocidos

El regreso de Dean Wareham a la primera plana de la actividad musical es una grandiosa noticia. Quien fuera líder de Galaxie 500, Luna o Dean and Britta se merecía volver por la puerta grande con un disco precioso y elegante como éste debut homónimo.
Como leí por algún sitio, este disco es como un repaso por sus tres épocas anteriores, aunque no superpuestas, sino formando un todo, una continuidad que se plasma en este trabajo, de carácter pausado pero en el que Dean es capaz de recuperar su visión más ácida y cercana a la Psicodelia (Holding pattern, I can only give my all, Babes in woods) como su lado más íntimo (The dancer dissapears, Beat the devil, My eyes are blue, Love is not a roof against the rain o el delicioso epílogo Happy and Free).
Un disco realmente notable, un remanso para calmar las ansias nostálgicas de aquellos (como el que escribe) que disfrutamos de parajes eléctricos en los noventa y que suspiramos por aquellos álbumes en los que nos reencontramos con viejas sonoridades que nunca pasan de moda.


Dean Wareham‘s first full-length solo album, 2014’s eponymously titled Dean Wareham, features production by My Morning Jacket‘s Jim James and an elegiac, lyrical tone. The album follows upWareham‘s equally compelling 2013 five-song EP, Emancipated Hearts, and explores a similarly baroque and folk-pop-leaning sound with all the latitude offered by a full-length record. In that sense, the album fits nicely into Wareham‘s existing discography as the leader of bands like Galaxie 500,Luna, and Dean & Britta, the latter two being critically acclaimed projects with his wife and bassist,Britta Phillips (who appears here as well). While Wareham has always evinced a love of dewy-eyed ’60s and ’70s pop music, here he imbues his softly melodic, sweetly poignant, and often psychedelic sound with a somewhat regretful and sad tone. On the languid, torchy ballad “Love Is Not a Roof Against the Rain” (a reference to Edna St. Vincent Millay‘s sonnet “Love Is Not All [Sonnet XXX]”),Wareham opines “I can hold the midnight in my hand/Spoken like a singer in a band/Everyone remembers what they want/Stories told to give their life a font/What have I done with my life?/What have I done with the keys?” Cooed against a backdrop of what sounds like an acoustic guitar-led death march in an Ennio Morricone spaghetti Western, the song lets Wareham (an avowed film fanatic) showcase his longstanding knack for combining his enigmatic personal reflections with grand, cinematic imagery. Even the album’s most buoyant track, the leadoff single “Holding Pattern,” findsWareham contemplating a sense of stasis in his life. Thankfully, another of Wareham‘s trademark traits, his deadpan humor, is also on display here as he evokes the monotony of constant touring by juxtaposing the music he’s listening to on his device with the locations he find himself in. He sings “Kansas, Boston, Toto, Journey, Foreigner and Styx/San Diego over Denver seventeen to six/Living in a holding pattern, this is not my voice/Stuck inside a drop-down menu, this is not my choice.” Ultimately, although melancholy has always been Wareham‘s default musical disposition, here he delivers his sadness with a coy, charming half-smile” (Matt Collar, All Music)

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8 agosto, 2014 - Posted by | Dean Wareham

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