Not a year has passed since the great ‘On sunset’ and Paul Weller is already back. Go preparing the red carpet, honing the ovation and chopping the laurels disguised as mattresses to receive the umpteenth lesson in elegance signed by The Modfather. Because he has done it again. And it is not so much about playing it safe, as well, but about reiterating the ability of the legendary Weller to continue accumulating hits and dodging mistakes, maintaining his untouchable status while he defies with admirable dexterity the passage of a time that is already counted. in decades.
His new work, ‘Fat Pop Vol. 1’, shines as a reunion with all the musical colors that inhabit the canvas of a true painter of flawless songs. Here we find echoes of their legendary previous bands, The Jam and The Style Council, on songs as fabulous as ‘True’; sweaty and vibrant soul (‘Glad times’, ‘That pleasure’); inspired experimentation in the hypnotic ‘Fat pop’, indicated by Weller himself as his favorite on the album; half times that disarm at the first listen (‘In better times’); house brand classics (‘Failed’); monumental classic pop pieces (‘Shades of blue’, ‘Cobweb / Connections’); and even a helping of brilliant funk that seems fresh out of Studio 54 (‘Testify’). All this guided by that voice that makes wrinkles a utopia, another of the virtues accumulated by an artist who defines himself in the explosive ‘Cosmic fringes’ as a sleeping giant waiting for the time to wake up. And the truth is that, if such splendid discs as the one at hand are brewing in his dreams, we will not be the ones to prevent him from snoring soundly for a long time.
In present tense
Texas – ‘Hi’
With his tenth album, ‘Hi’, Texas seems to have accepted the remoteness of those times of wine and roses in which ‘White on blonde’ and ‘The hush’ sounded, two remarkable albums that represent his best stage both artistically and commercial, without implying anything like resignation. Not much less. Since the dazzling ‘Mr. Haze ‘gives the passionate starting gun, Sharleen Spiteri and her family give themselves voice, body and soul to the enviable exercise of having a great time without thinking about anything else.
Thus, the Scottish band signs their most satisfactory work so far this century, adding a couple of potential classics to their repertoire (‘Sound of my voice’, ‘Just wanted to be like’); embracing that soul so much his in the superb ‘You can call me’; surprising with the sparkling country of ‘Moonstar’; or fitting in great suits tailored to Buddy Holly in the enchanting ‘Dark fire’ and the Ronettes in a ‘Hard to leave’ that ends up standing out among their peers for a matter of emotional epic. Not everything is at the same level, there are the expendable ‘Unbelievable’ and ‘Fallin’ to prove it, but they are still small falls on an album in which, to function, it does so until the collaboration of the Wu-Tang Clan in the magnificent ‘Hi’. Another compelling example that Texas has hit the bull’s-eye by replacing the spreadsheet with a present-tense flare.
The proud sensitivity
Wild Honey – ‘Future Ruins’
Rebuild from the most unexpected point in the atlas. Turn routine into poetry. Transform uncertainty into pinches of melancholy. Reinvent yourself in song. These are only four of the goals achieved by Guillermo Farré, artist under the Wild Honey umbrella, with ‘Ruinas Futura’, another wonderful work from his always stimulating discography. Ten themes that make delicacy its guide, orchestral pop its most identifiable label and sensitivity an act of pride. So our mission here is simple: let ourselves be captivated by the beauty of songs as precious as ‘Dinosaurs and supermarkets’, ‘My cousin Adriana’, ‘New Zealand’, ‘Dandelions’, ‘Two accidents’ or the superb homonymous song .
‘Born in the Usa’
Bruce Springsteen went from the twilight nudity of the impressive ‘Nebraska’ to the collective furor with the no less outstanding ‘Born in the USA’, a radiant collection of hymns that, 37 years after its publication, is his greatest commercial success. A triumph that forever changed his career based on stadiums surrendered to his feet, iconic images, shattered records and a worldwide reconversion to the Boss religion. Impossible not to get a landslide victory when you start with twelve songs that continue to be and sound like the perfect single.
Ross – ‘During the End of the World’
What they have the weaknesses is that they go from free and lazy debates, abandoning themselves to the pleasure of enjoying in the purest, subjective (with forgiveness) and personal way possible. Therefore, although no one doubts the dimensions of ‘Supersonic Spacewalk’, unanimously hailed as Ross’s masterpiece, or the worth of works as fantastic as ‘Rossland’ or the recent ‘Interstellar’, space and words From this corner dedicated to the rhyme between celebration and vindication, they go to ‘During the End of the World’, the great hidden gem in the trajectory of one of the indispensable talents in the musical history of the Region. An album that, beyond the use of Spanish as a differentiating element, offers an arsenal of impeccable pop gems that invite dance (‘Single’, ‘Espiral’); to emotion (‘Wake up’, ‘Balibrea’); on the hunt for the furtive spring (‘Imagination’, ‘Ace’); or to instant devotion (‘Comet’, ‘Fever’, ‘Aliens’). I said, a (justified) weakness.