Albums: We Are Love

The Charlatans are releasing their 14th., studio album "We Are Love" it has been their first album to be recorded at Rockfield since 1997's Tellin' Stories and the album's title track was released as a lead single last July and "Deeper and Deeper"

The album has been focused on the band's effort than collaborators which seems to be fine for the band and the sound across the record, the title track "We Are Love" came easy and it feels the band was comfortable to perform it. The first album in almost a decade, The Charlatans are dealing with the well-documented ghosts and dark places that have been a feature of the their story, they're returned to the same place to work since keyboard genius Rob Collins died in a car collision driving from the studio in 1996. 

The band shared 'hauntology' and 'psychogeography' as talking points whilst recording the album, partly influenced by the choice of going back to Rockfield according to frontman Tim Burgess, who further elaborated on the decision as an idea that what has been lost (or what never was) still affects and often determines the present. As artists get older, there’s bound to be a sense of loss in their work as has been handled brilliantly in recent albums by Suede and The Cure, and We Are Love can be added to this body of work, but The Charlatans channel their grief in a much more positive manner. 

The album opener "Kingdom of Ours" opines that the curtain is coming down, but rather than being a maudlin sentiment, there's a sense of euphoria within the swelling music and the lyrics talk about the small, mundane things that deliver us from pain. The album's first single, the rip-roaring "We Are Love", felt like a return to form after the middling albums Different Days from 2017 and 2015's Modern Nature. Here, though, there's a catchy hook that's eluded the band for way too long, and the double hit of the eponymous track followed by "Many A Day A Heartache" are feel like a band reinvigorated, reenergised and it actually sounds like The Charlatans are enjoying making music again. 

"For The Girls" is next and there's a clearer sense of what the band are trying to achieve on We Are Love. This track sounds like a prime cut from 1999’s Us and Us Only, and here is a band looking forwards whilst acknowledging the persistence of the past. The brilliant "Deeper and Deeper" is a love song for the ages. In the middle of the heartbreak, there's room for finding new love and for having your head in the clouds so much that you’ll never want to come back down. "Out On Our Own" starts with a dreamy bass intro, it’s a song in three parts, but they often intertwine too much where a breath between sections might have been a better idea. 

"Salt Walter" a weird, hypnagogic track that's of interest, "Appetite" is another that doesn’t quite hit in certain way with maybe the mood of the album, which is a shame as it has all of the constituent parts to be a cracker but it just feels flat, and then, the album heading into their final tracks "Glad You Grabbed Me" and  "Now Everything" – the two most heart-on-sleeve tracks on an album filled with looking back. "Now Everything" the final track which is the most sonically ambitious song on We Are Love, if "Glad You Grabbed Me" looked to the past, "Now Everything" is firmly positioned in the present and its funereal pace underplays its sense of positivity, and musically it wanders into psychedelic soundscapes towards the end that could – should – have been much longer. 

 

A welcome return to form from this iconical band and proving they're still worth attention, celebrating their history throught this album and creating formidable and important music in the process to make of this album a must-have. 

 

We Are Love Track List: 

 

1. Kingdom Of Ours

2. We Are Love

3. Many A Day A Heartache

4. For The Girls

5. You Can't Push The River

6. Deeper And Deeper

7. Appetite

8. Salt Water

9. Out On Our Own

10. Glad You Grabbed Me

11. Now Everything

New Music: Deeper And Deeper

           

The Charlatans UK return today with new single, "Deeper and Deeper." taken off their forthcoming album We Are Love, available October 31 via BMG. Tim Burgess says about the single: "It kicks in with a sense of immediacy. It's Altered States meets Pincher Martin. "The Hammond organ leads the way and hands you over to the irresistible and relentless bassline – a sense of giving in to what surrounds you. Sometimes it's where you should be going. But you only get the answer once you can’t turn back." It was one of the first tracks to emerge as they were writing, it became a pathfinder for the record, as guitarist Mark Collins explained: "Early on, we thought it felt right. And it turned out that way: first single, title track, second song on the album. And things started forming around.

Rocktrospectiva: The Lushy And Warmy "Some Friendly" Turns 35

Released on 8 October 1990 "Some Friendly" was the debut studio album by British rock band the Charlatans. After forming in 1988, the band went through line-up changes before settling on vocalist Tim Burgess, guitarist John Baker, bassist Martin Blunt, keyboardist Rob Collins and drummer Jon Brookes. The band wrote material at a prolific rate and released their debut single "Indian Rope" in early 1990. Soon afterwards, they signed to Beggars Banquet and began recording their debut album. Between March and August 1990, Some Friendly is considered an acid-pop, baggy and dance-pop album that draws influence from The Beatles' psychedelic period spawning three singles "The Only One I Know","Then" & "Sproston Green". "The Only One I Know" has been viewed as one of the defining tracks of the Madchester and baggy scenes.

After the demise of their band The Gift Horses, bassist Martin Blunt, vocalist and guitarist Baz Ketley, and drummer Jon Brookes regrouped and held a jam session, marking the formation of The Charlatans in 1988. They engaged several keyboardists before finding one who fit the sound they were aiming for. This new keyboardist, however, died after four-to-five rehearsals. Blunt then engaged Rob Collins, who had played in a band with Brookes when they were teenagers. The band recorded two sets of demo recordings and began looking for a manager. Steve Harrison, owner of a record shop called Omega Music, had been interested in managing bands. Blunt, who he knew from his time in Makin' Time,  contacted Harrison to see his band perform. After the set, Harrison was impressed and agreed to manage the band. The Charlatans' first attention from national music publications came in August 1988 when they supported Broken English at Walsall Overstrand; the Charlatans' set received a lukewarm reception.

Harrison took his friend Tim Burgess of The Electric Crayons to see the Charlatans; Burgess enjoyed the performance but thought they could sound better with a different singer. The Electric Crayons supported the Charlatans for one show in September 1988. Collins had tried to convince Blunt to draft Burgess into the band; Blunt instead invited him to do backing vocals for their set. The Charlatans supported various American bands and later the Stone Roses at several shows as that act were rising in popularity. Brookes said the band were impressed with the confidence the Stone Roses' frontman Ian Brown had, wishing they had a vocalist like him. Ketley left the Charlatans after his girlfriend left him, though Harrison said the decision came from Ketley, who felt the band were heading nowhere.

Blunt had earlier asked guitarist John Baker of Liquid Egg Box, who had booked the Charlatans at Walsall Overstrand, to practice with them but Baker had declined. When Blunt asked Baker again in July 1989, Baker suggested another guitarist, who appeared for a few rehearsals and left thereafter; Baker joined The Charlatans shortly afterwards. The band auditioned a number of other people before considering Burgess, whose band had now broken up. Then Burgess became the band's new vocalist by August 1989. Burgess and Baker did not like the material the band had accumulated up to that point; Burgess found no emotional connection to the lyrics and Baker being unable to play the guitar parts.

The Charlatans' debut single "Indian Rope", was released in January 1990. It peaked at number one on the UK Independent Singles Chart; the band sold all of the copies they had within a week, prompting Harrison to put his house up for payment so he could press more copies. While touring, the band discussed what to release as their next single; the band chose "Polar Bear" but Martin thought "The Only One I Know" was superior, as did other people, and told the band. Following a performance in London, the Charlatans met with representatives of Beggars Banquet Records, with whom they signed a six-album deal. 

Shortly after signing their contract, the Charlatans were also considering "Flowers" for their second single. When the band went to record "Polar Bear", a friend said they were recording the wrong song, alluding to "The Only One I Know". In the studio, the band found a fax from Beggars Banquet's A&R man Roger Trust asking them to record "The Only One I Know". The song and its later-accompanying B-sides were recorded in one week in March 1990 at Strawberry Studios, Stockport. 

The remainder of Some Friendly was recorded in three sessions in five weeks in mid-1990 between live performances. These sessions were held—again with Nagle producing—at The Windings near Wrexham. Recording concluded with some B-sides in August 1990 at Strawberry Studios, where Nagle would mix the album.

Some Friendly has been classified as acid-pop, baggy and dance-pop; Burgess said the Beatles' psychedelic period had a major influence on the album, some Pink Floyd on these songs "109 Pt.2" and "Polar Bear". He also said the "slow, building groves" of "Believe You Me", "Flower" and "Sproston Green", all of which "overflow with creamy Hammond organ, psychedelic guitar effects, aggressive bass, and winsome vocals, owe as much to 'Echoes' as to any other influence". The record was stamped with Collins' brooding complex personality and just beyond the record's poppy vibe you can hear the great crashing keyboard played with an intense passion by a young man working out his inner turmoil through rock & roll".

The album opened with "You're Not Very Well", is about leaving home and moving to a big city; Burgess moved from Northwich to the Isle of Dogs in London. Burgess described its new title of "You're Not Very Well" as being a love letter to city life, specifically visiting Manchester, where he felt like an outsider. "White Shirt" is largely inspired by the work of Felt and an attempt to shift Collins' musical interests away from The Beatles and Deep Purple.

"The Only One I Know" began as an instrumental; Burgess said he was buying cigarettes when he thought of the melody that became the song. He rushed home to get his dictaphone before he forgot it. The lyrics discuss teenage emotions. Burgess said the song has an abnormal structure and that he was unsure which part is the chorus section. The title of "Opportunity", which was originally"Love Senses Chaos", was taken from "Opportunities (Let's Make Lots of Money)" (1986) by Pet Shop Boys. "Opportunity"'sfirst half was inspired by Burgess's experience in London following a band rehearsal. He was travelling on the London Underground and found himself walking amidst the poll tax riots. He observed broken windows, mounted police and looting and became "overawed by the violence". "Then", Burgess said Collins' strength on an organ was equivalent to guitar solos by John Squire of the Stone Roses. Burgess said the song discusses his friends settling down while he wanted to find meaning in his life. "Polar Bear" was initially titled "Looking for the Orange One", a line from the song. Burgess realised that "oblique lyrics—which might seem incongruous—can end up being quite memorable". "Believe You Me", which was originally called "Who Killed Your Lover", is about being a Gemini. In "Flower", which has a Pixies-esque bass part, Burgess wishes death upon a person from his youth. "Sonic" was wrote while Burgess working in an office at the Runcorn branch of Imperial Chemical Industries (ICI). Part of the lyrics discuss Burgess wanting to live in a painting while another part talks about a girl who disappears after consuming drugs. The closing song, "Sproston Green", is a jam centred around Collins' keyboard work. The name is borrowed from a lane in Sproston, Cheshire.

Some Friendly was met with mixed reviews from music critics, a number of whom highlighted the band's influences rather than the contemporary nature of their sound. Collins' keyboard parts were lauded, but Burgess' vocals received negative comments, even thought the band successfully "capture the moodiness of a lot of late-'60s rock and, on their better cuts ... the shimmering buoyancy of that era’s pop". In the years to come, reviews improved highlighted the style of the band and praised Tim Burgess vocals as delicate an essential for the mood in the record.

 

Some Friendly Track List:  

 

1. You're Not Very Well

2. White Shirt

3. The Only One I Know

4. Opportunity

5. Then

6. 109 Pt. 2

7. Polar Bear

8. Believe You Me

9. Flower

10. Sonic

11. Sproston Green

New Music: We Are Love

           

The Charlatans' new album, We Are Love, is set to arrive just in time for Halloween. Following a busy live schedule that included a 2023 North American co-headline tour with Ride and a 2024 series of anniversary shows celebrating their second album, Between 10th and 11th, the band is back with renewed energy. Eight years have passed since the release of their last album, "Different Days", in 2017. Their lead single and title track from the forthcoming 14th album, “We Are Love,” showcases this vibrant revival. From the opening moments, We Are Love is an invigorating collision of post-punk drumbeats and jangly indie rock guitar lines: a love letter to existence itself, spirited and direct.  Lyrically, We Are Love reflects a contemplative yet hopeful spirit, navigating themes of uncertainty, the weight of decisions, and contrasting perspectives on life. There’s an enduring optimism in facing darkness, a communal striving for truth and reconciliation amidst chaos. It revels in the complexity of human relationships, celebrating language as a healing force, a bridge across divides, and a gesture toward the profound power of mutual acceptance and love. Frontman Tim Burgess describes the track, one of the first to materialize for the album, as akin to “an open top car ride in the credits of your favourite movie, driving along the coast to somewhere amazing,” a vivid image that perfectly captures its buoyant optimism. “I think it’s wildly exciting as a track,”

Rocktrospectiva: The Stunning "Modern Nature" Turns 10

Released on 26 January 2015, "Modern Nature" was the 12th studio album by British rock band the Charlatans. The album spawned the singles "Talking In Tones", "So Oh", & "Come Home Baby". The band promoted it with radio appearances, and in-store performances.

Following the release of the Charlatans' 11th studio album Who We Touch, drummer Jon Brookes was diagnosed with brain cancer while on tour in the United States; he was temporarily replaced by the Verve member Pete Salisbury, at the recommendation. Brookes later re-joined the band towards the end of the year. In February 2011, the band held a discussion for their next album, which they were aiming to release at some point in 2012.  Later in 2011, vocalist Tim Burgess started his own record label O Genesis; him and guitarist Mark Collins went on an acoustic tour; and Burgess worked on a solo album. In mid-2012, Brookes suffered from a relapse in September that same year.

The band attempted to make an album, at the insistence of Brookes, however the effort was fruitless. In July 2013, keyboardist Tony Rogers said the band were anticipating going into the studio to work on new songs. In spite of Brookes receiving surgery that same month, Burgess announced Brookes' death in August. A benefit show was held for him two months later. Burgess and guitarist Mark Collins held a writing session Hastings, which resulted in several songs. The band congregated at a beach house in Rye where the recorded ideas using a portable studio and drums courtesy of a mobile app.

The band reconvened in early 2014 at their own studio Big Mushroom, and spurred on by the memories of Brookes, the band began recording in January that year. The members intentionally wanted to make an uplifting record; some songs were worked on between Burgess and Collins, bassist Mark Blunt and Rogers, or the whole band. Jim Spencer, who worked with them previously on their 2001–2008 albums, co-produced the proceedings.  Drummers from different bands participated in the recording sessions: Salisbury, New Order member Stephen Morris, and Factory Floor member Gabriel Gurnsey. Morris and Gurnsey went into the studio to see how the band was progressing, only then to be asked to play on the recordings. Burgess expected the sessions to last three months, when in reality, they lasted seven.

Musically, the sound of Modern Nature has been described as pop, with elements of disco, funk, and soul. Discussing the title, Burgess said he was visiting the band Grumbling Fur as they were recording song. They were in the middle of song when a book fell of a shelf and hit Burgess on the head. The book turned out to be Derek Jarman's diaries, entitled Modern Nature. Up to this point, they had already planned on calling it Nature as they had several songs with that as the working title. Some of the upbeat songs, such as "So Oh" and "Let the Good Times Be Never Ending", were reminiscent of the pop nature of the band's seventh studio album Wonderland (2001).

Similarly, "So Oh" and "Come Home Baby" channel the band's early Madchester sound. The High Llamas frontman Sean O'Hagan contributed orchestration throughout the album, alongside gospel vocal harmonies from Melanie Marshall and Sandra Marvin. O'Hagan previously worked with Burgess for his solo album; Burgess made a mental note that if the Charlatans required strings, to ask O'Hagan.

The opening track "Talking in Tones" initially begins as a soundscape of glitch and electronica percussion loops, before shifting into 1960s beat music, with its chorus section being reminiscent of I'm a Man" (1967) by the Spencer Davis Group. It was the result of a jam session between Collins, who was playing drums, and Burgess, who was playing guitar.   Collins said "So Oh" was influenced by a Barry White song, while its bassline recalled the band's stand-alone single "The Only One I Know" (1990).

"Come Home Baby" utilizes a gospel choir. Rogers had the verse music for it for sometime, until Burgess had a melody part for it, which he dubbed "Baby Huey" after the person of the same name.The soul track "Keep Enough" talks about mourning for an absent friend. It was the first song the band wrote after becoming a four-piece."In the Tall Grass", alongside "Let the Good Times Be Never Ending", saw the band move into disco territory. The keyboard parts in the former were compared to those played by the Doors member Ray Manzarek.

"Let the Good Times Be Never Ending" is a cross between the music of the Doors and the 5th Dimension, with brass parts from Dexys Midnight Runners member Jim Paterson. The song was influenced by Little Anthony and the Imperials, and was initially scrapped on three occasions. The first idea for the song was a six-minute-long bass part that Rogers turned into two iterations, one with a Rhodes piano, and the second with a Hammond organ. Burgess, Collins and Blunt liked both versions that Rogers made. The final version was made after six months' worth of attempts, with a variety of additional instrumentation, such as drum machines and Chic-esque guitar playing. "I Need You to Know", alongside "Lean In", use an organ sound in the style of Noel Gallagher's High Flying Birds. "Lean In" features jangly guitarwork backing vocal harmonies recalled those hard in "Strawberry Wine" (1987) by My Bloody Valentine. It was the last song written for the album, with Burgess, Collins and Blunt working on the guitar parts of it until the early hours of the morning.

The piano-driven baggy song "Trouble Understanding" features several different dynamics and mood changes throughout it. Halfway through the song, a guitar line is heard, which builds towards a choral section. It was initially titled "Nature #1", and was written by Burgess with Lou Reed in mind. The closing track "Lot to Say" also evoked their Madchester sound, while incorporating elements of Motown. Burgess purposely wanted to end the album with a quiet track; he wrote it after moving to Norfolk when his son was born. "Walk with Me" was written by Brookes while laying in a hospital bed; it incorporates a back choir, which consisted of children from that that Brookes used to teach at Brookes had dictated the song's lyrics three weeks prior to his death. "Honesty" is an acoustic instrumental rendition of "Emilie", with a string section, while "Marauder" is a drum and keyboard-based instrumental.

The album was promoted with appearances on various radio stations, and performances at record stores. "Come Home Baby" was released as a single on 2 February 2015, and featured a Simon Fisher Turner remix of the same song. 

Also the album was met with generally positive reviews from music critics considered it as an unexpected and majestic," with "repeated plays" that will reward tenfold, others called as the Charlatans have made a joyful eulogy – and possibly the best album of their career, due to their elements of the band's past glories with a vision firmly ensconced in the future." It acted as "another prized addition to The Charlatans' already wealthy canon.

 

Modern Nature Track List: 

 

1. Talking In Tones

2. So Oh

3. Come Home Baby

4. Keep Enough

5. In The Tall Grass

6. Emilie

7. Let The Good Times Be Never Ending

8. I Need You To Know

9. Lean In

10. Trouble Understanding

11. Lot To Say

Rocktrospectiva: El Infravalorado "Tellin' Stories" Cumple 25 Años

 

Lanzado el 21 de Abril de 1997, "Tellin' Stories" fue el 5to., álbum de estudio de la banda Inglesa, The Charlatans, además de ser el último disco en donde el miembro fundador Rob Collins participó antes de fallecer en un accidente de automóvil, el disco resultó ser la gran apuesta de la banda, uno de los más comerciales y exitosos en su carrera colocando tres singles en el top ten Británico, siendo su cota más alta jamás alcanzada.

 

Grabando en diferentes estudios bajo la producción de Dave Charles y la banda, y lanzado en una época en la que el brit pop comenzaba a perder fuerza en el Reino Unido, el disco vino a dejar en claro que la banda tenía su pegue, y que no había sido suerte lo conseguido con su amalgama secreta "Between 10th and 11th" de 1992 gracias al genial single "Weirdo", entonces tiene un regreso sorpresivo en 1995 con un disco eponimo que les dio las mejores críticas y ventas, esto no hizo más que preparar el camino para "Tellin' Stories", que hubiera sido el regreso triunfante de la banda de no haber sido por la muerte de Collins, siendo una parte integral de la banda en cuanto a influencia y creatividad dándole su sonido psicodelico al grupo, entonces fue reemplazado por Martin Duffy mientras se producía el disco.

El resultado fue un disco lleno de rock clásico mezclado con ritmos bailables como ya era habitual en los discos de la banda, los ritmos se vuelven más orgánicos quedando de manifiesto en temas como "North Country Boy", el single "One To Another" y la intensa "How Can You Leave Us?", el resultado fue entonces en un logro, un disco más consistente que sus entregas tempraneras, y con mejores canciones que llevaron a la banda a su punto más alto, lo cual es notable considerando el problema y trauma por la perdida de Collins que la banda estaba sobrellevando, pero que mejor reconocimiento y regalo a la memoria de Collins que este disco, uno de los más destacados en la carrera de la banda.

Tellin' Stories Track List:

 

1. With No Shoes

2. North Country Boy

3. Tellin' Stories

4. One To Another

5. You're A Big Girl Now

6. How Can You Leave Us?

7. Area 51

8. How High

9. Only Teethin

10. Get On It

11. Rob's Theme

Rocktrospectiva: El Infravalorado "Between The 10th & 11th" Cumple 30 Años

 

Lanzado el 23 de Marzo de 1992 "Between The 10th & 11th" fue el segundo disco de estudio de la banda Inglesa The Charlatans, que incluía los singles "Weirdo" y "Tremolo Song" siendo el primer su single más exitoso en los Estados Unidos alcanzando el No. 1 en el chart de música Alternativa. 

 

A pesar que la banda suele considerarlo como su producción menos exitosa, pese a ser grabado de una manera muy profesional en todo sentido, esto contrastó con estilo de la banda, curiosamente a los fans si que les gustó porque su sonido es muy sólido y antecede muchas vece su reputación, proclamándolo como uno de sus discos preferidos del grupo, en parte por la manera en que Burgess canta siendo una de las calmadas a la hora de escuchar una banda con un estilo de música tna peculiar, igual eso se compensa con el trabajo en los teclados de Rob Collins para hacer el disco perfecto, "Weirdo" el track más sobresaliente es quizás su punto más fuerte con un órgano brillante interpretado por Collins y una serie de tonalidades y ritmos funk que hacen que el tema sea uno de los más disfrutables de la banda, lo mismo sucede con el otro single "Tremolo Song" con un piano eléctrico que se complementa con el bajo de Blunt y el ritmo de Brookes y Collins llenando muy bien sus partes.

 

Hay otros temas igual de buenos como "Ignition" y "Subtile" que proveen una atmósfera increíble al oyente, o el tema "Can't Even be Bothered" con un hermoso arreglo de cuerdas y el tema que cierra el set "No One (Not Even The Rain)" el cual remata un disco con una atmósfera brillante y que marcó época, inolvidables recuerdos cuando el tema "Weirdo" llegó aparecer en la MTV de principios de los 90's. 

Between The 10th & 11th Track List:

1. I Don't Want To See The Sights

2. Ignition

3. Page One

4. Tremelo Song

5. The End Of Everything

6. Subtitle

7. Can't Even Be Bothered

8. Weirdo

9. Chewing Gum Weekend

10. (No One) Not Even The Rain

Rocktrospectiva: El Debutante "Some Friendly" Cumple 30 Años

Lanzado el 8 de Marzo de 1990, "Some Friendly" disco debut de la banda Británica de rock alternative The Charlatans, los puso en el punto de mira de todos. Por aquel entonces, la banda buscaba reunir la mayor cantidad posible de canciones, pero ese era el principal problema, la falta de temas, apenas llevaban juntos poco más de medio año y no habían tenido la oportunidad de poder plasmar muchos temas, esto hizo que el disco sufriera un poco, y para más fregar, muchos temas se tuvieron que descartar. 

 

Otros temas sufrieron de una excesiva sobre producción, en especial con "White Shirt" y "Polar Bear" que cuando se hizo la mezcla, el bajo se perdio por completo y sonaba muy débil. Pero afortunadamente, dos temas del disco que fueron los singles "The Only One I Know", y "Then" probaron ser clave y se convirtieron en hits en los charts Británicos, haciendo que pese a todo, el disco terminará en el No. 1., aunque pudieron caer como one hit wonder, el disco se vendío muy bien y eso quedo en el olvido. 

 

Los temas destacan por esa vibra mod y psicódelica, en donde los teclados funky de Collins dan la pauta y arropan la voz de Burguess en todo sentido, pese a que su voz no era del todo poderosa, y es que algo tenía el disco, un sonido amigable y bailable, que los hacía destacar, y ahí tenemos otros ejemplos como "You're Not Very Well" que era el track que abría el disco y le daba esos sonidos calurosos y agradables al mismo, y es que "Some Friendly" trae una combinación de arreglos sesenteros con una vibra madchester, además que ayudó un poco el hecho de que Happy Mondays y Stone Roses estuvieran en su mejor momento, para ayudar a impulsar el disco, que tenía una amalgama de temas como por ejemplo los tracks más lentos como "Opportunity" y "Polar Bear", otro destacable sin duda es "Flower" con claras referencias funk, no digamos la icónica, movida y psicódelica "The Only One I Know", en especial ese organo que le da su toque al mismo, uno de los últimos tracks "Sproston Green" nos pone de manifiesto una improvisación entre el teclado de Collins y la adolorida voz de Burguess para encajar perfectamente el tema.

Al final de cuentas, el experimento tuvo éxito, y establecio a la banda como una de las mejores de principios de los 90's y los impulso a seguir lanzando discos buenos y hasta la fecha siguen vigentes, como Tim Burguess incluso lanzando un disco en solitario. En Guatemala no tuvieron mucha relevancia y sino hubiera sido la MTV creo que no muchos no los hubieramos podido conocer, al final de cuentas nunca llegaron a sonar por estos lares, pese a su enorme calidad.

Some Friendly Track List:

1. You're Not Very Well

2. White Shirt

3. The Only One I Know

4. Opportunity

5. Then

6. 109pt. 2

7. Polar Bear

8. Believe You Me

9. Flower

10. Sonic

11. Sproston Green

Primicia: Totally Eclipsing

         

La banda Británica The Charlatans presenta el video de su nuevo single "Totally Eclipsing" que se desprende de su nuevo EP del mismo nombre a lanzarse el 8 de Junio próximo, el track suena a clásico himno veraniego de la banda con su sonido habitual y con un video creado por el animador Chris Walker quien captura a la banda en el estudio removiendo y usando varios cuadros por segundo para dar la noción de una animación stop motion.

Primicia: Different Days

         

The Charlatans estrenan nuevo clip y single con "Different Days" que se extrae del álbum que lleva el mismo nombre y que ya esta a la venta, se trata de un gran tema bastante suave y a la vez movido con ese toque único de la banda y que nos presentan diferentes facetas de la banda en plena gira así como a Tim Burgess en una sesión de fotos.

Primicia: Plastic Machinery

         

La legendaria banda británica The Charlatans estrena el video oficial del single "Plastic Machinery" el primero que se extrae de su nuevo disco "Different Days" disponible para finales de este mes, además el track cuenta con el apoyo del íconico Johnny Marr y Peter Salisbury y que tiene como localidad Barcelona y Badalona.

La Noticia: The Charlatans Anuncian Su Nuevo Disco

La banda británica The Charlatans regresan el próximo mes de mayo con un nuevo disco llamado "Different Days", el cual estará disponible en varios formatos tradicionales incluyendo un vinilo claro de 7" en una caja de lujo.

De la misma manera que lo hizo Blondie con su "Pollinator", este nuevo disco continene un total de cinco singles en formato de 7" el cual se puede encontrar en sitios especializados y la tienda personal de la propia banda, ademas de ofrecer el disco en un formato de vinilo negro estandar y el claro con opciones autografiadas, incluso hay un formato que viene con un cassette y por supuesto la super deluxe edition que abarca casi todo.

El nuevo disco de la banda será el 13avo., en su carrera y entre los artistas invitados destacamos a Johnny Marr, Paul Weller y Stephen Morris, que tal!. El nuevo disco sale al mercado el próximo 26 de mayo del 2017.

Different Days Tracklist: 

1. Hey Sunrise
2. Solutions
3. Different Days
4. Future Tense
5. Plastic Machinery
6. The Forgotten One
7. Not Forgotten
8. There Will Be Chances
9. Over Again
10. The Same House
11. Lets Go Together
12. The Setting Sun
13. Spinning Out

Libros: Vinyl Adventures From Istanbul To San Francisco

En el 2012, Tim Burgess líder de The Charlatans publicó sus memorias con gran éxito, recibiendo una buena critíca al respecto llamada "Telling Stories", en realida Tim disfruto del proceso de convertirse ahora en un autor, por lo que decidio lanzarse con otro libro.

El segundo libro es acerca de la gran pasión que Tim tiene de los discos, las tiendas que los vender y las personas que los fabrican, de alguna manera, los eventos más grandes en la vida de Tim han sucedido en los años en los que el terminó de publicar su primer libro más que en los 40 años anteriores, por lo que ahora tiene más que decir al respecto pero en vez de escribir otra autobiografía, se lanzó a contar otro tipo de historia.

Tim se hizo el reto así mismo de ponerse en contacto con la gente que el admiraba y pedirles sobre alguna sugerencia en cuanto a un disco para que el pudiera localizarlo durante sus viajes, dando una mirada acerca de que es lo que los hace gruesos. También de tener la oportunidad de ver como las tiendas de discos todavía se mantienen y luchan en esta era digital, y por la cual el vinilo se ha convertido en un bien preciado.

Entre los personajes que aparecen podemos contar a Iggy Pop, Johnny Marr, David Lynch y Cosey Fanni Tutti entre otros.

Discos: Mother Nature

La banda Británica The Charlatans regresa con su 12avo., álbum de estudio llamado apropiadamente "Mother Nature", esta vez son solo Tim Burguess, Mark Collins, Martin Blunt y Tony Rogers controlando los destinos de esta genial banda noventera cuyas reminiscencias viene desde la época del Madchester a finales de los 80's y principios de los 90's.

Como decíamos, este nuevo disco viene tras un año tormentoso para la banda que vio la muerte a causa de un cancer cerebral de su viejo amigo, el baterista Jon Brookes. Rogers dijo que la banda estaba determinada a seguir con su carrera para honrar la memoria de Brookes. La banda entro al estudio Big Mushroom en enero del 2014, en aquel momento estaban desesperados por el calor del verano cuando escribieron los temas del disco y cuando entraron a grabar se estaban congelando, por lo que la tematica giro en torno a temas que los hicieron felices.

El resultado fue entonces 11 nuevos tracks, producidos y mezclados por Craig Silvey quien ha trabajado con Arcade Fire y Portishead entre otros. El álbum contiene una cacofonía de influencias en cuando a las percusiones, ya que hay tres baterista que participaron en el mismo: Pete Salisbury de The Verve, Stephen Morris de New Order y Gabriel Gurnsey de DFA, además de la colabroaciones de Melanie Marshall y Sandra Marvin coristas de Kate Bush, Sena O' Hagan en las cuerdas y en la sección de metal a Dexys Big Jim Paterson.

Todos estos sonidos le dieron la identidad refrescante al disco, la banda aun mantiene su sonido bailable familiar pero ofrecen una colección de canciones que van desde las más ritmicas hasta algunas con cierta influencia soul, y tintes de rock clásico de los 70's con pinceladas de música disco, entre los temas que destacan podemos mencionar los dos single "So Oh" y "Come Home Baby" pero también hay otros temas hermosos con "In The Tall Grass" y "Talking In Tones".

Lo admirable de la banda es poderse mantener en el camino haciendo buena música a pesar de los años, sin duda este año pinta de ser maravilloso para el revival de los 90's con las entregas de Noel Gallagher y Gaz Coombes y a la espera de lo nuevo de Blur, destacando por supuesto que tanto ellos como The Charlantans siguen vigente haciendo excelente y disfrutable música y no viviendo de sus glorias pasadas, digno ejemplo The Charlantans de regreso para dar a conocer su creatividad al tope.

Mother Nature Tracklist:

1. Talking In Tones

2. So Oh

3. Come Home Baby

4. Keep Enough

5. In The Tall Grass

6. Emilie

7. Let The Good Times Be Never Ending

8. I Need You To Know

9. Lean In

10. Trouble Understanding

11. Lot To Say

Deluxe Edition tracks:

1. We Sleep On Borrowed Time

2. Walk With Me

3. As Long As You Stick By me

4. I Will Never Leave You (demo)

Primicia: Come Home Baby

         

La banda The Charlatans estrena nuevo single y video "Come Home Baby" segundo single oficial que se extrae de su nuevo disco "Mother Nature" muy bien recibido por la crítica y los fans, se trata de un buen tema entre bailable y con ciertas reminiscencias de la época del madchester sound de finales de los 80's y principios de los 90's con la banda tocando en un club tipo The Hacienda como en los viejos tiempos.

Primicia: So Oh

        

Primer single oficial que se extrae de la nuev producción de The Charlatans "Mother Nature" que saldra a la venta en unos meses, en el single "So Oh" se puede ver a la banda en una actitud relajada por una zona costera para luego contemplar el mar en una playa con un bello atardecer como fondo, un sonido más suave pero que no pierde la esencia de una de las bandas más completas salidas de la Gran Bretaña.

In Memoriam: Muere Jon Brookes De The Charlartans

El baterista Jon Brookes, co-fundador de la banda The Charlatans en 1989, ha fallecido a consecuencia de un tumor cerebral el cual se le habí diagnosticado hacía tres años, luego de que colapso en un escenario en Filadeldia.

La banda expreso sus condolencias, declarando lo brillante que era Jon en la bateria, toda una inspiración y miembro fundador y parte de nuestra familia, por lo que su muerte es una grave tragedia para todos nosotros, nuestras condolencias estan con Debbie su esposa y toda la familia de Jon.

Luego del diagnostico del tumor, Brookes se volvío a unir a la banda a finales del 2010, y estuvo trabajando con la banda en un nuevo material que seguía al del 2010 "Who We Touch", Brookes se convierte así en el segundo miembro de la banda que muere, el primero fue el tecladista fundador Rob Collins quien murío durante las grabaciones del disco de 1997 "Tellin' Stories".