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Alternative en Indie - Verschenen op 2 april 2021 | Cooking Vinyl Limited

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Fifteen years separate this sixth Fratellis album from their first, the famous Costello Music (2006), which had nothing to do with (and sounded nothing like) Elvis Costello, featured their surprise hit Chelsea Dagger which took the band to immediate worldwide success (with nearly two million copies sold). The three pseudo-Fratellis brothers (the three friends present themselves as the Fratelli brothers despite having nothing Italian about them and not being brothers), skillfully embroider rock ritornellos with a very satisfying vintage patina. Once a stage is set, it stays set: this sixth album is once again an invention, a concept, a look. The title is itself very cinematic, Half Drunk Under a Full Moon. The ten songs that make up the album are each a scene that you can easily imagine while listening to the lyrics... Like Strangers in the Street which flirts with the kitsch of an overbearing romanticism. We then find behind these songs this ironic Scottish spirit, often seductive.  Moreover, the most obvious influence, listening to Half Drunk Under a Full Moon, is a tribute to the doo-wop of Sixties girl groups and the Motown of Berry Gordy, from the Supremes to the Marvelettes through Martha & The Vandellas. The aptly-named Need A Little Love is offbeat and successful, with its catchy chorus. These three musicians are experts in retro and when listening to each of the tracks we can feel the sixties seep from every sonic pore. The Wall of Sound effect, so dear to the late Phil Spector, seems to be infused throughout the whole album, gripping on The Last Songbird, adding to the singularity and anachronism of the project. In the end, the three rock forgers demonstrate their know-how and make Half Drunk Under a Full Moon an experience which while not necessarily very original, is very expertly rendered. © Yan Céh/Qobuz
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Rock - Verschenen op 13 maart 2007 | Universal-Island Records Ltd.

Brash, melodic, and imbued with a more-than-healthy sense of British rock tradition, the Fratellis and their debut album, Costello Music, come across almost like a caricature of bands like the Libertines, Dirty Pretty Things, and Arctic Monkeys -- but at least it's a flattering one. The Fratellis take themselves a lot less seriously than some of the other laddish bands popular in the U.K. in the late 2000s, and emphasize hooks and fun rather than samey-sounding rock. Songs like "Baby Fratelli" and "The Gutterati" have a singalong simplicity, and it feels like the band puts as many "la la la"s and "ba da ba"s into each song as they can -- and then try to cram in a few more. Costello Music's best tracks go even farther with the band's fun-only agenda; it's easy to hear why "Flathead" -- which switches between grinding, aggressive verses and a downright giddy chorus with more of those "ba da bop a dah" hooks -- was picked to soundtrack a fittingly day-glo, kinetic iPod TV commercial. The outstanding single "Chelsea Dagger" is just as vibrant, a swaggering glam rock nugget with pints-aloft choruses. "Henrietta"'s loopy catchiness owes a debt to vaudeville or musical comedy, and not just because Jon Fratelli sings "wa wa wa waaaahhh" along with the guitar solo; "For the Girl," meanwhile, has a melody so strong, it could've been a hit anytime between the '60s and the '90s. Elsewhere on Costello Music, the Fratellis show off their knowledge of other corners of rock history: "Vince the Lovable Stoner" is appealing faux country-rock; "Doginabag" adds some blues and grit to their sound; and "Creepin' Up the Back Stairs" nods to '50s rock and skiffle. Even when the band gets a little more complex, as on the darkly twangy "Got Ma Nuts from a Hippy," they keep the focus on rapid-fire rhythms and air guitar-ready solos. Indeed, Costello Music is so high-energy, it's almost too much to take in one sitting. Then again, this music wasn't made for sitting, it was made for dancing yourself silly. They might not have the cultural or historical impact of some of their peers, but the Fratellis are a lot of fun in the moment -- whenever that moment is. © Heather Phares /TiVo
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Alternative en Indie - Verschenen op 16 maart 2018 | Cooking Vinyl

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Alternative en Indie - Verschenen op 15 april 2016 | Cooking Vinyl

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Alternative en Indie - Verschenen op 28 oktober 2013 | BMG Rights Management (UK) Ltd

We Need Medicine marked the Fratellis' return from a four-year hiatus, during which time Jon played with Codeine Velvet Club and pursued a solo career, Barry toured with the Twang, and Mince played with Throne o' Diablo and Jon's backing band. Wisely, the trio doesn't try to pick up where they left off, which was 2008's relatively mannered Here We Stand. Nor do they try to recapture Costello Music's giddy heights; instead, they opt for a slightly more grown-up, slowed-down version of their sound that has a bit more grit and swagger. The brash opening track "Halloween Blues" is just as rollicking as anything by the Fratellis of old, and while it may not be as rambunctious, it shows that the band hasn't forgotten how to have fun during its hiatus. The trio also brings some aspects that used to be on the fringes of their music to the fore; the dark, driving undercurrent on songs such as "Jeanie Nitro" and the Stones-y "Shotgun Shoes" feels more genuine here than it did on earlier albums. Likewise, the historical allusions that have always peppered their music seem more natural, and the countrified pedal steel on "Until She Saves My Soul" and the twangy '50s guitars on "Seven Nights Seven Days"' sound equally fresh and familiar. There are also hints of some emotional growth on We Need Medicine's more heartfelt moments: "This Old Ghost Town" and the anthemic "Rock N Roll Will Break Your Heart," both stay on the right side of the fine line between earnest and schmaltzy. While a few songs wander too close to lunkheaded bar rock, We Need Medicine reveals a surprising amount of vitality and growth for a band that spent nearly half a decade apart. Not only is it a welcome return, it's one of the Fratellis' most consistently engaging albums. © Heather Phares /TiVo
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Alternative en Indie - Verschenen op 21 augustus 2015 | Cooking Vinyl

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Alternative en Indie - Verschenen op 19 juni 2020 | Cooking Vinyl Limited

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Rock - Verschenen op 1 januari 2006 | Universal-Island Records Ltd.

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Rock - Verschenen op 1 januari 2008 | Universal-Island Records Ltd.

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Alternative en Indie - Verschenen op 15 april 2016 | Cooking Vinyl

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Alternative en Indie - Verschenen op 8 januari 2021 | Cooking Vinyl Limited

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Alternative en Indie - Verschenen op 11 juni 2021 | Cooking Vinyl Limited

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Rock - Verschenen op 1 januari 2008 | Universal-Island Records Ltd.

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Alternative en Indie - Verschenen op 9 februari 2018 | Cooking Vinyl

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Rock - Verschenen op 1 januari 2006 | Universal-Island Records Ltd.

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Rock - Verschenen op 1 januari 2006 | Universal-Island Records Ltd.

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Rock - Verschenen op 1 januari 2008 | Universal Music Group International

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Alternative en Indie - Verschenen op 12 maart 2021 | Cooking Vinyl Limited

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Alternative en Indie - Verschenen op 8 mei 2020 | Cooking Vinyl Limited

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Alternative en Indie - Verschenen op 12 februari 2021 | Cooking Vinyl Limited

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