Question sur le groupe anglais XTC,
Pour vous ils jouent plutôt du postpunk ou de la new wave?
En écoutant l'album "Black sea", je drais que ça dépend des morceaux
[video]http://www.youtube.com/watch?v=woGjDWivYm8[/video]
Issu du mouvement punk/power pop des années 1977-1978, puis étiqueté new-wave, XTC est parvenu à résister aux divers estampillages médiatiques en imposant une qualité de composition exceptionnelle sous l'impulsion de son mentor Andy Partridge, fasciné par la pop féconde des années 60, tout autant que par les démarches avant-gardistes de tous horizons. Pillé par Blur, citée par Suzanne Vega, Sting, Joe Jackson ou Talking Heads, mais surtout adulée par la nouvelle génération pop américaine et française, la musique d'XTC est devenue une référence incontournable du songwritting de cette fin de siècle.
Winsterhand a écrit:Pour moi, c'est ni l'un, ni l'autre : this is pop, yeah yeah.
The songs? 'Generals And Majors', with wonderful whistling and Britpop rhythms. The song's biggest hook? The soft near-falsetto hush of "generals and majors everywhere!" in direct counterpoint to the shrill "calling generals and majors!" It's easily the smoothest-running XTC song so far, and if you ever have any urges to be a pop genius, you gotta have smooth running songs, you know, when the verse melody starts off in a good way, then develops into something unpredictable, then manages to come back again to a natural conclusion in a perfectly natural way. 'Generals And Majors' is up there with the best. 'Living Through Another Cuba' is probably not, but it's still a pretty hilarious exploration of Latin rhythms in a lyrical setting that equates the current political situation of the Cold War to the Cuban missile crisis of 1961. Other bands would pretty much make the lyrics the focal point of the song, but not XTC - for them, it's the ridiculously loud rhythm section (percussion particularly), the scraping minimalistic guitar riff akin to the kind of riffs Tom Waits would love, and the unpredictable emphasis on 'BA!' in the chanted refrain. And the extended coda to the song, of course, when the political message is no more but the chorus still lives on.
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Other highlights would be, for instance, 'No Language In Our Lungs', where the guitar sound is for the first time entirely ripped off the Beatles circa Abbey Road - but in a creative way, with an obligatory twist like a time signature rupture in the middle of the verses. Or maybe it would be 'Towers Of London', although that one is a bit lazy on the move, just plodding along like another Beatles rip-off but nowhere near as cool guitar-wise. Still a good song when you get used to it, and the chorus is nice to sing along to - 'towers of London, when they have built you, did you watch over the men who fell?' Or maybe it would be 'Paper And Iron', which eschewes Beatlesque imitations in favour of a more direct New Wave pop sound this time. Or the lyrics-heavy 'Burning With Optimism's Flames'. Or the almost bubblegummy 'Sgt Rock (Is Going To Help Me)', with the immortal line 'if I could only be tough like him, then I could win my own small battle of sexes'. Seriously, that song almost sounds like the Monkees. It's hilarious.
etc
yenyen a écrit:Les débuts d'XTC sont plutôt post punk. Mais qu'est ce que le post punk ? Hormis un dérivé de la new wave ? Et la new wave n'est-elle pas elle-même de la pop ?
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