Thursday, April 28, 2011

Maryland - Get Cold Feet: the power pop never (will) grow old

There are styles that indie revolution of the past decade seems to have become obsolete or, rather, in the background. Because if you think about it, has there been a power pop group that has grabbed headlines, led festivals and opened a new trend, nationally or internationally? The obvious answer is no, but that does not have to disable the persistence of bands who did not practice (Fountains of Wayne, Weezer, Nada Surf recording new album), or the appearance of new bands picked up the essence and, although do not try to revive the genre, used as a vehicle of sound.

In this wave are the Vigo Maryland, which coincided with the abandonment of bands like Sexy Sadie (but now have returned, at least for a long tour) or Half Foot Outside, debuted in 2009 with the kindest Surprise, and return to charged with a more seasoned and intense. This Get Cold Feet up the sound and the distortion of the guitars, and pursues a strongly that reinforce a proposal right now does not match in time and space with other representatives of a genre almost by definition perennial.

Obviously, that affects the valuation of the group, but should not divert attention and ignore its virtues, nor acknowledge its shortcomings. Maryland retains its ability for melody and building the kind of moments in which the volume and instrumentation should remain calm and to build and half-times (they do very well in the superb '25 springs' with certain languor in 'Little Miss Sunshine' and contained until the final explosion 'For me today') or serve as a prelude to the explosion posed by the chorus ("So happy, so young ',' What to do ',' It works') but debugging transitions and clutching what is more difficult in this genus: the gear changes are made naturally, without squeaking, and when requested by the motor of the song.

Maryland - Red Boots (Vimeo) Moreover, given more variety, versatility and adaptability sharp guitars, the intensity of the riffs and enrich the formula with increased use of synthesizers provided in a suitable background. Pepinazo are a few: 'Atom Bomb', 'Fury Road', 'What to do' or 'Red boots' give witness to this.

However, personally I have a bitter aftertaste, as if despite all the stylistic success (a lot) could not disguise a drop in the skeleton of the songs, as if someone picks up some weight and see his tummy, more Fondón, known to hide his new body to dress better and improve its external appearance, but once you naked in the bathroom of his home found that it is not gold that glitters.

Either way, a pleasant album that takes the growth instrumental group and a new production of James G. Soriano, Sexy Sadie - very close in sound, and you can check on Friday 29 in the Sala Caracol telephoning the Mallorcan alone or both FNAC tomorrow and Saturday in Room Costello - and that expands a some formula, taking just over Posies or Snow Patrol and a more compelling offering.

There is nothing new, but good enough to give it a try and restore faith in the genre (if you left parked) and as bright as hipervitaminarte and rejuvenate a few years.

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