Mise sur pied par l'auteur-compositeur-interprète néo-zélandais Neil Finn au crépuscule de Split Enz, la formation art pop australienne Crowded House éclipse rapidement sa grande sœur avec l'explosion du hit mondial "Don't Dream It's Over", extrait de son premier opus éponyme de 1986, par ailleurs défendu par "Something So Strong". Pourtant vite relégué au circuit college rock le temps du pourtant solide Temple of Low Men de 1988, le groupe renoue avec le succès commercial en 1991 à la faveur de l'entrée de Woodface dans les charts britanniques, préparant le terrain pour l'acclamé Together Alone de 1994, achevant d'imposer le talent d'écriture de Finn auprès d'un large public. En 2021, c'est suite à une absence de onze ans que le groupe revient avec Dreamers Are Waiting, son septième opus studio en date.
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Rock - Paru le 1 juin 1986 | CAPITOL CATALOG MKT (C92)
Split Enz needed to end, particularly since founding member Tim Finn found his little brother Neil's growth spurt uncomfortable, but also because Neil was no longer writing tunes that made sense within the context of a band that ran the gamut from art rock to eccentric new wave. Neil was now writing songs that were undeniably totems of popcraft, but infused with the spirit and introspection of a singer/songwriter. This formula would later become quite popular with artists from Matthew Sweet to the legions of basement auteurs in the pop underground, but this sensibility was relatively unheard of in the mid-'80s -- hence the birth of Crowded House. Neil retained Paul Hester from Enz, added Nick Seymour for the trio, and recorded one abandoned attempt at an album before joining with Mitchell Froom for the band's eponymous debut. At the time, Froom's clean production seemed refreshing, almost rootsy, compared to the synth pop dominating the mainstream and college scenes at the time, but in retrospect it seems a little overreaching and fussy, particularly in its addition of echo and layers of keyboards during particularly inappropriate moments. But Finn at his best overshadowed this fairly stilted production with his expert songcraft. As it happened, the record was blessed by good timing, and the majestic ballad "Don't Dream It's Over" became an international hit, while its follow-up, the breezy "Something So Strong," also turned into a hit. Both revealed different sides of Finn's talents, with the first being lyrical and the second being effervescent, but perhaps the truest testaments to his talents are "Mean to Me," "World Where You Live," and "Now We're Getting Somewhere," songs where the lyrics meld with the melody in a way that is distinctive, affecting, and personal. If the rest of the record doesn't reach those heights, it's still good, well-constructed pop, and these aforementioned highlights point the way to Temple of Low Men, where Crowded House (and particularly Finn) came into its own. © Stephen Thomas Erlewine /TiVo