1980 was a great year for British music history. In just 12 months there were at least three disks breathtaking debutantes, all of them marked by a common characteristic: the search for a new psychedelic guitars equally influenced by the dark post-punk and garage seventies. A priori, water and oil, but in the hands of people like Teardrop Explodes and Echo & The Bunnymen natural confluence of two ways of looking at music.
Crocodiles, the first disc of the British group led by Ian McCulloch, is next to Heaven Up Here the disk chosen by Echo & The Bunnymen to play in the next Primavera Sound 2011. It is curious that the group has chosen these two before Ocean Rain, the undisputed record and the best known.
If the sins of youth are those that make us ashamed of old, it seems clear that Echo & The Bunnymen have little to regret. In Crocodiles, the first step of an intense and somewhat underrated career, crystallize and other music from Echo & The Bunnymen. Are the angular guitars, shifting according to the subject, with a gloomy air to Joy Division, but with much more appreciation of what people like David Bowie or Television had done before them.
Crocodiles also is the leading feature of the group: Ian McCulloch and his way of dealing with the voices of songs, such phrasing defiant, cocky as the character she played for years in the music magazines, yet fragile and introspective lyrics of the group . In his debut still carries a hint to Jim Morrison that will fade over the years but that marries visceral enough of the songs on the album, as the 'Crocodiles' owner.
Being a disc from a band that is still learning, the debut of Echo & The Bunnymen and rock stresses at the set (there is little to discard) and the brilliance of the songs seen individually. Of course, on top of it all is 'Rescue', single from the album, song and the first advance since that epic hurtful instrumental in giving rise then wonders like 'The Killing Moon'.
Against further drives the group, Crocodiles sounds half-baked in the production, far from what would later appear in Ocean Rain. No matter, because that rawness is what benefits and adds shine to the differences between songs like "Stars Are Stars' (with McCulloch playing as two singers in one), 'Villiars Terrace' (where the piano and leaves a deposit of future) or 'Read It In The Books' and its rhythm choppy.
In the letters, Echo & The Bunnymen are not known for being storytellers but lucky catch phrases in a musical package required. Stanzas of exaggerated romanticism as "I caught a falling star / it cut my hands to pieces" come dressed in the only clothes that would fit well not cloying, to say something about your life.
'Happy Dead Men' makes a snap cathartic, while apocalyptic playful (those trumpets), which should be very palatable to the fans of Nick Cave. Then, Echo & The Bunnymen would transit and other roads are essential for understanding influence Coldplay or British Sea Power. They never got to be massive, perhaps because, as evidenced by this debut their songs were always more sharp and pointed as those of, say, U2, which also debuted in 1980 with a much smaller disk, Boy, and now still in highest commercial career.
Crocodiles, the first disc of the British group led by Ian McCulloch, is next to Heaven Up Here the disk chosen by Echo & The Bunnymen to play in the next Primavera Sound 2011. It is curious that the group has chosen these two before Ocean Rain, the undisputed record and the best known.
If the sins of youth are those that make us ashamed of old, it seems clear that Echo & The Bunnymen have little to regret. In Crocodiles, the first step of an intense and somewhat underrated career, crystallize and other music from Echo & The Bunnymen. Are the angular guitars, shifting according to the subject, with a gloomy air to Joy Division, but with much more appreciation of what people like David Bowie or Television had done before them.
Crocodiles also is the leading feature of the group: Ian McCulloch and his way of dealing with the voices of songs, such phrasing defiant, cocky as the character she played for years in the music magazines, yet fragile and introspective lyrics of the group . In his debut still carries a hint to Jim Morrison that will fade over the years but that marries visceral enough of the songs on the album, as the 'Crocodiles' owner.
Being a disc from a band that is still learning, the debut of Echo & The Bunnymen and rock stresses at the set (there is little to discard) and the brilliance of the songs seen individually. Of course, on top of it all is 'Rescue', single from the album, song and the first advance since that epic hurtful instrumental in giving rise then wonders like 'The Killing Moon'.
Against further drives the group, Crocodiles sounds half-baked in the production, far from what would later appear in Ocean Rain. No matter, because that rawness is what benefits and adds shine to the differences between songs like "Stars Are Stars' (with McCulloch playing as two singers in one), 'Villiars Terrace' (where the piano and leaves a deposit of future) or 'Read It In The Books' and its rhythm choppy.
In the letters, Echo & The Bunnymen are not known for being storytellers but lucky catch phrases in a musical package required. Stanzas of exaggerated romanticism as "I caught a falling star / it cut my hands to pieces" come dressed in the only clothes that would fit well not cloying, to say something about your life.
'Happy Dead Men' makes a snap cathartic, while apocalyptic playful (those trumpets), which should be very palatable to the fans of Nick Cave. Then, Echo & The Bunnymen would transit and other roads are essential for understanding influence Coldplay or British Sea Power. They never got to be massive, perhaps because, as evidenced by this debut their songs were always more sharp and pointed as those of, say, U2, which also debuted in 1980 with a much smaller disk, Boy, and now still in highest commercial career.
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