PSAPP - The Camel’s Back

Dopo due anni di pausa creativa, il duo antesignano del toy-pop torna con una collezione di canzoni colme di novità. “The Camel’s Back” si costruisce come naturale evoluzione del precedente "The Only Thing I Ever Wanted" e sviluppa percorsi stilistici ancora una volta inediti. La capacità rigenerativa di Carim e Galia sorprende fino a un certo punto, già in passato avevano dimostrato potenzialità evolutive fuori dal comune. Ridotto drasticamente l’uso della toy-orchestra che in passato li ha resi celebri, la band introduce un vago sapore mediterraneo, che contribuisce alla riuscita dell'operazione, tra sapori tropicalisti, arrangiamenti perfetti, voce e strumenti centellinati al grammo, e una sottile elettronica decorativa. Una fanfara tinteggiata con colori a pastello che si rifà il trucco, ma non cambia programma.

Scattered song fragments scatter into a thousand streamlets, the music guiding us through melodies pared down to the bone, enriched with imagination and taste, varying their compositional structure across the twelve tracks. Sparkling interplays between sampling and skittish guitars appear (“I Want That,” “The Monster Song”), sending out a clear, limpid message of innovation. Songs from another era fade lightly and shadowed (the fizzy “Part Like Waves” and the gentle pulpits of the title track), while the polychromies rain down abundantly, adding unmatched pieces to the puzzle (the tasty “Fickle Ghost” and the oddities of “Somewhere There Is A Record Of Our Actions”).

Through two instrumentals on the border between pop experimentation and dancing shades (“Marshat” sounds like a little march, “Homicide” is lopsided and disorienting), we plunge with lush delight into the depths of a show that, up to this point, has only reached its introduction. Ramshackle Balkan-brass-band choruses are dressed up with barely perceptible electronic lines (“Fix It”), “Mister Ant” blossoms amid double rhythms and lethal refrains, emotions pour out unstoppably with a languid, furrowed-brow piano (“Screws”).

Announcing a surprise ending, the band's final gift comes in the shape of the perfect “Parker,” a true masterpiece of pop art applied to rhythm, just brazen enough, capable of composing an ideal soundtrack for a country fair dominated by reckless dancing, gleaming trumpets, dim lights and a waning moon.

Calorosamente consigliato ad ogni amante della giocosità fusa con la tradizione della canzone popolare.

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16/11/2008