Mover ist doch uralt. Mindestens 94.
Preview of The Verve’s Forth
Lucky me, aye? I got an advance copy of The Verve long awaited return to the music scene, entitled Forth. Clocking in with 10 songs at 60 minutes, it’s not some passive, cash in on the reunion trend album. It’s a dense journey of large soundscapes with moments of laid-back, acid prog rock. Don’t expect „Bittersweet Symphony, Part II.“
I don’t necessarily review records, because I don’t read album reviews. So, I don’t bother writing them. Especially those Pitchfork ones, they give me a headache with their college-level creative writing style. Is it a review or some tool enjoying their prose?
Anyway, this is more like my reaction to the new music:
Sit and Wonder (6:52): The first two songs on the albums are knock-outs. Although, tt doesn’t feel like a declaration of their return. The first song is a slow build that sets up a nice groove, then Ashcroft shows why he’s got the best voice of the 90s BritRock/Pop bands. It’s got a lot of variations between his vocals, short guitar parts which leads into big passages.
Love Is Noise (5:29): This is a close as a dance floor anthem as The Verve will get. You have that patented shout out repeated over and over, „ah uh, ah uh, ah uh“ and that dance rock beat. This was a neat song to see live when they did their return to NYC last April.
Rather Be (5:38): This is the Verve that we know and love — a spiritual, groovy throw back to the baggy sound of the late 80s Manchester music scene. You even got a gospel choir floating around to back up Richard’s soulful lyrics. It also has a nice piano part leading the melody.
Judas (6:19): As you can tell, these songs aren’t for those with short attention spans. This song finally comes to life around the four-minute mark when the music becomes larger and Ashcroft’s vocal morphs into an echo. The screeching guitars gives the song a seafaring effect.
Numbness (6:35): Get your bongs out for this one. It’s slow and labored. In the middle, you have this Jim James meets mid-80s Eric Clapton guitar jam. The weakest song on the album for me.
I See Houses (5:37): It has a dramatic piano beginning, then it catches you by surprised with a „Shot from the mountain top“ chorus.
Noise Epic (8:14): The longest song on the album, and it doesn’t start out with much noise. About a minute in, the long, slow jams come in then quickly become more up-tempo. Finally, you have a decent groove to latch onto. The vocals are barely audible, but you’ll get into a feeling more with that sweet bassline. The ending is pretty hardcore. It’s when the song lives up to its title. This is my favorite song on the album. It’s brash and unpredictable
Valium Skies (4:34): The shortest song is the most soothing song on the album, although there is a lot of studio trickery. There’s different sounds to digest to the strings, the orchestral bursts and swirling vocals layering on top of each other. The song tells me, „Hey, it’s going to be okay.“
Columbo (7:30): There’s some nice interplay between the bassline and the jazz-like drum parts. Halfway through, it become a different song, changing tempos and structure.
Appalachian Spring (7:34): The last song is a nice come down from all bigness of the album. There’s a sense of hope in the song, which I believe might be the theme of the album. It’s one of those things I’ll discover after I get a few more listens in.
In all, I was surprised how different this album is from their previous efforts. I’m glad they didn’t fall back on their past successes, and are looking forward to creating a new Verve, while maintaining their sense of spirituality. It’s Verve Version 1.5. I’m convinced Verve fans will love it. It’s good guys, you can breathe easier.
Forth comes out August 26th
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Mother Earth is pregnant for the third time, for y'all have knocked her up