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Gomez weaves complex masterpiece with ‘Liquid’ by Pete Johnson Gamecock Critic Gomez-“Liquid Skin” |%» -fct'&'k of ★★★★ “So you wanna spin the world around?” asks Gomez’ Ben Ottewell, and it seems that Gomez are aspiring to do just that, and then some. “Liquid Skin,” the British band’s follow-up to 1998’s “Bring It On,” is a deeply textured, smart and fresh triumph. It has as many moments to accompany that first step out your front door into the morn ing sunshine as it does to lure you off into sleep late at night. Every song on “Liquid Skin” is like a road trip, where you nev er can tell exactly where the course will veer off onto some dilapidated dirt road. It’s tough to conclude where Gomez, who won England’s prestigious Mer cury Music Prize for 1998 Album of the Year, draw their inspiration from. Each of these songs are deeply textured, ranging from bluesy roots jam-rock to soul soothing, lushly instrumented ballads. It’s not necessarily “complicated,” but this is one of those albums that reveals itself in intricately woven layers with each listen. “Blue Moon Rising” starts off sounding like a show in a smoky casino lounge, but quickly evloves into a fast, foot-stompin’, swingin’ swamp romp. Ottewell’s sandpaper-and-silk voice carries the chorus. “Then some people are like chil dren in the moonlight,” he moans, while the band follows with a cool, diffident howl, as if that moon were full. “Revolutionary Kind” takes a not-so-subtle shot at the modem rave and club scene. “Rhythm and Blues Alibi” is a funky, beat-box grounded acoustic jam that flows into a lush chorus of “la-la’s.” But the true masterpiece on the album comes last in “Devil Will Ride,” a rockin’ out jam session, complete with orchestral accompaniment that supports the chorus. But just when you think it’s winding down, trumpets and trombones pipe in and handclaps crackle in the background while the band sings “If you will, devil will ride.” “Liquid Skin” is one of the more diverse albums to be released in quite awhile. Its melodies aren’t blatantly infectious, but rather deeply woven into the music. It might not be quite so ear-catching upon first listen, but give it time and “Liq uid Skin” will capture your mind and catch your soul. Once you cut through the jangly guitars and see this album as the heartfelt masterpiece that it is, it will take on a whole new aura and capture your heart. Gomez are just five guys in love with their music, and you should be, too. Take it all in and surrender. John Popper - “Zygote” of 'k'fc'k'k “Zygote,” John Popper’s solo debut, lacks the same harmonica-driven blues rock flair that the Blues Traveler albums captured. Instead, Popper takes a stab at a more mellowed-out ballad style of songwriting. Carter Beauford, Dave Matthews Band’s drummer, makes aguest appearance, but the pace is too slow for him to shine. He seems trapped, mechanically drum ming to love ballads. Popper remains a good lyricist, but it seems that he is try ing too hard. The album has that terribly overproduced sound that all artists fear when they decide to go solo. Popper sings “Open Letter” as if it were directed toward God, thanking him for what he sees of him in “her.” He closes the song with the line “she’s a mira cle. Amen.” Popper seems to neglect the element of music that made his band popular in the first place, the raw, aggressive blues bliss that propelled them into the hearts of many fans. Instead, “Zygote” seems flat and lackadaisical. Five Points 812 Harden St.. Ask about private parties ^ y 77H502