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Punk - New Wave - Paru le 4 mai 1984 | WM UK

Distinctions Discothèque Idéale Qobuz
Dans la grande et éclectique famille new wave de l’aube des années 80, Echo & The Bunnymen imposa sa propre voix, bien différente de celles des Cure, U2, Simple Minds et autres Psychedelic Furs. Une singularité due en partie à la voix torturée de son charismatique chanteur-crooner Ian McCulloch. Après des premiers albums assez sombres, les Bunnymen assument progressivement leur attirance pour les grandes mélodies et les instrumentations plus riches. Ocean Rain est un peu le sommet de cette mutation. Tout au long de ce quatrième album paru au printemps 1984, le rock éthéré du quartet de Liverpool doit tant à la nonchalante grandiloquence du génial Scott Walker qu’à la poésie des Doors ou des Byrds voire à la tourmente de Joy Divison… Grâce à sa production ultra-léchée et ses arrangements de soie, les talents de compositeur de McCulloch et l’impressionnisme de la guitare de Will Sergeant sont comme magnifiés. Le lyrisme d’Ocean Rain n’est surtout jamais mièvre. Drapé dans les cordes de violons de bon goût, le disque atteint son paroxysme avec The Killing Moon, longue ballade crépusculaire à écouter en boucle… © Marc Zisman/Qobuz
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Pop - Paru le 30 mai 1981 | WM UK

Following their more psychedelia-based debut, Crocodiles, and subsequent "Puppet" single, Echo & the Bunnymen returned in 1981 with the darkest and perhaps most experimental album of their career. Heaven Up Here lacks the signature hooks and melodies that would make the Bunnymen famous, showcasing instead a dirge-like songwriting approach built around the circular rhythms of bassist Les Pattinson and drummer Pete DeFreitas. In this setting, the band remarkably flourishes, although they would go on to greater heights by scaling back the album's extremism. Heaven Up Here's strength is the way in which the Bunnymen seamlessly work together to shape each song's dynamics (the tension underlying the crescendo of "Turquoise Days" being a prime example). Ian McCulloch, having found his trademark confidence, sings with soaring abandon and passion throughout the album. Similarly, Will Sergeant's guitar playing, notably freed from verse-chorus structure and pop riffs, is at its angular finest; his playing on "No Dark Things" is pure Andy Gill-esque skronk. The album's opening troika of "Show of Strength," "With a Hip," and "Over the Wall" (the latter with its jarring, direct invocation of Del Shannon's "Runaway") are particularly effective, establishing the theme of distrust and restlessness which continues throughout the album. Indeed, even the album's lone single, "A Promise," is hardly light, pop material. But the message underneath that darkness, especially in McCulloch's lyrics, is a call to overcome rather than wallow, as the album ends with the relatively euphoric "All I Want." Sitting comfortably next to the pioneering work of contemporaries like Joy Division/New Order, and early Public Image Ltd. and Cure, this is a rather fine -- and in the end, influential -- example of atmospheric post-punk. Having reached the British Top Ten, Heaven Up Here is highly regarded among Echo & the Bunnymen's fans precisely for the reasons which, on the surface, make it one of the least accessible albums in the band's catalog. © Aaron Warshaw /TiVo
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Pop - Paru le 29 mai 1981 | WM UK

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Pop - Paru le 22 septembre 2009 | WM UK

Pop - Paru le 17 mars 2017 | WM UK

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Pop - Paru le 1 janvier 1985 | WM UK

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