The gamecock. (Columbia, S.C.) 1908-2006, September 29, 1999, Encore!, Page 3, Image 17
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.
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