The JangleBox

Indie, Noise, Shoegaze… Music

Bart Davenport: Physical World (Lovemonk,2014)

Sensaciones algo encontradas en este cuarto trabajo del cantautor Bart Davenport. En su disco, el de Los Angeles es capaz de teletransportarnos desde el Power-Pop del inicio del disco (Wearing the changes, Fuck game), al Pop más cercano al standard más comercial de los setenta (Every little step), pasando por momentos incluso Jangle (Vow), o a la sofisticación Pop de Style Council (Dust in the circuits, Physical world).
Lo cierto es que pese a ese cierto estrabismo sonoro, su sonido se centra más o menos en algo así como una reencarnación de Joe Jackson mezclado con detallitos aquí y allá de Paul Weller, Alex Chilton, The Cars y otras influencias clásicas. El cuarto álbum de Bart Davenport es un disco entretenido, preñado de emociones, de vivencias cercanas y un sentido del humor suave (Pamela).

Foto: Coming back to Spain soon!

“Davenport’s Physical World is a world of record sleeves, thumbed through masterfully. The album opens with “Wearing The Changes”, a fond and affectionate tribute to a woman who is “Wearing the changes well,” which is an elegant way to phrase aging gracefully. It’s a lion-in-winter flirtation, and the bittersweet green-apple tang of the guitar chords provide the wink and the proffered champagne glass, while Davenport slides in the clincher line: “Don’t stop doing whatever you’re doing something so right”. Again, you think: didn’t Daryl Hall say something like this?
This sense of constant, nagging nostalgia is kind of the point for songwriters like Davenport, who keenly understands his place in the wider universe. However, he plays too many games on Physical World to sustain a listener’s interest: he affects a British accent on “Dust in the Circuits,” although it’s less of a specific accent and more of an All-Purpose Morrissey.  “Pamela” traces a chord progression distractingly similar to “Wearing the Changes”, but with twice the glucose.
What he lacks is a presence that feels definitely Bart Davenport, and after a while, it begins to feel like an album full of someone else’s songs—or, rather, anyone else’s songs. His best moments are breezy and autumnal, where a five’o’clock shadow of soulfulness shades the proceedings. “We rely on the physical world for love/ See me cry when invisible things still hurt,” he croons gently on the title track, and while the words are lovely, the melody is the focal point, coasting up and breezing down with a reassuring ease. “Keep it light and keep it loose,” he sings, and it’s one of the album’s few telling lyrics. Davenport keeps it light, but too much so, and it doesn’t take much for the entire album to float gently from your notice” (Pitchfork)

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29 octubre, 2014 Posted by | Bart Davenport | Deja un comentario


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