Tuesday, June 28, 2011

CatPeople - Love Battle: switch from third to rediscover all its virtues

Catpeople have removed the curtains, opened the windows, and have painted the walls of their rehearsal. The black has been replaced by green, blue and other colors "live" you can think of. No trace of the dark, sober face and mourning the past. No sign of night and solemnly gave off its previous qu issues.

Fortunately, it has also been the ghost of the obvious comparisons with Anglo-Saxon groups. Well, at least we can stop comparing Interpol. With Editors, one could say they keep hitting the steering wheel parallel to the third album, and beyond the new ways and the results achieved, we can say that it is a success the new address, because it was necessary not to repeated and that the courage of the change has been made with all the consequences, parking above and enter a new stage.

Catpeople-Safari by David Tiptoes Needless to say, possibly more than the feeling one has had to listen to the album has ranged from skepticism and uncertainty. Questions over a rumiaría for hours would be: "Are they the same group", "Do I like about now?", "This is dance?", "I forget this and put the discs before? ".

In my case, I acknowledge that I have not heard or Reel # 1, or What's the time Mr. Wolf, but I can say that I miss. I like the new Catpeople. Catpeople - Fat rat (on acoustic) - You no longer have the prominence or the bass or guitar is not an issue. I like the post-punk, but I need to return it, because they have proven to know and deliver gender squeeze hits and interesting songs both in studio and live.

In this case, considering the new sound of electronic pop group as, adopt it with a stunning natural (come on, who have not made a Dover), and the winks tropicalists-afro-pop (which immediately seek relationships with Vampire Weekend, Delorean, or Foals). Do not get me wrong, but I find no resemblance to these groups, but I just think they have chosen a road they have traveled before, but that the group employ samplers, percussion and production made no legitimate comparison.

Of course, like them, they get a surprising result and an easily digestible musical experimentation, which is not readily available. Now the foreground is for the voices (choirs involve the sophisticated voice of Adrian), percussion, keyboards and synthesizers (which "sinfonizan" in 'Secret Life (a Japanese story)', 'The horse parade' or the final 'I'm so sorry').

'Fat Rat' and 'She Was an Astronaut "are perhaps the summit of an album more consistent than previous, less distance between" holders "and" alternate "with' Safari ',' Love Battle 'and' Fishes with big mouth 'forming a second line as strong as the initials' Sorry' (the single) or 'Frog', the icon that represents the transformation and adaptability to different musical styles and his desire for survival of a group which we might begin to consider amphibian.

CatPeople - Sorry - Love Battle by dodmagazine His virtues (clear melodic vocal and interpretive, excellent production, sophistication and subtlety, calling pop but without neglecting the experiment) are more noticeable now, to distance themselves from the repeated comparisons, and many references to ethnic or opportunistic chameleon will fall over, will still be there.

They do a whole at 15, but reached a sufficient degree of success to not only repent of the step taken, but to feel very pleased with the outcome.

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