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The backwaters of post punk,
This review is from: Colossal Youth (Audio CD)
It seems to be Simon Reynolds who calls this post punk but really the correct description would be twee pop which has not much of a mention in the book.
This is a branch of Indie and is not far off a CD I have by Confetti which are basically a trio with a girl singer called Virginia Aeroplane
This trio are from Wales and were the Young Marble Giants with Alison Stratton and a nice sleeve based on the 2nd Beatles LP.
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Initial post: 13 Jun 2015 03:36:12 BDT
Confetti debuted a decade after YMG and pretty much admittedly stole their entire sound from them too. There's real lyrical depth to this album missing from much "twee pop," and it's difficult to express how shocking and unusual this album was in the face of first- and second-wave punk. It's an early post-punk classic, the sound of which was (sadly) diluted into meaningless by lesser artists who followed. The bits here which recall Ennio Morricone soundtrack work, hints of dub reggae production technique, funk, muzak, pre-rock strict tempo music and English folk - all melded together in a precise and magical sound - make it pretty much unlike most "twee pop." It's also not fair to refer to it as the "backwaters" of postpunk - until the Smiths, it was the second best-selling album on Rough Trade (after Stiff Little Fingers' debut) and songs from it have been covered by bands who've sold zillions of copies - Hole, Lush, many more. David Byrne recalls this as being a formative record and asked the band to play this year's Meltdown Festival. The record was hugely influential and a commercial success; its measurable impact dulled only by no real follow-up, and the dissolution of the band into new acts who varied dramatically from YMG's taut sound.
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