"Odyshape", The Raincoats, 1979
Dia: 8
Mês: Maio
Ano: 2013
Ano: 2013
Ouvir: http://youtu.be/PRP8nkaxMkQ
Shouted out loud by José Carlos Soares!
The Trouser Press Record Guide – Fourth Edition (Collier Books, 1991): On Odyshape, the scope of the band's sound expands; the mingling of snappy acoustics and jangly electric guitars provides saner contrast to the violin shrieks. There's even a song about a girl who's "Only Loved at Night". But the Raincoats are still no easy listen.
AllMusic: It was the late Kurt Cobain (with some help from labelmates Sonic Youth) who initiated Geffen's reissue of the Raincoats' catalog. And listening to Odyshape, it's easy to see why Cobain loved them so. There's an emotional directness about these songs that hooks you from the start. ★★★★1/2
Pitchfork: A big part of Odyshape's charm is derived from its backwards construction, with the band leaning away from the spikiness that made The Raincoats such an inviting listen, and writing many of the songs without percussion. The tribal drumming of original member Palmolive was forcibly removed from the mix – she quit the band by the time of this record, causing percussion to be added after the fact by a variety of guest players including Robert Wyatt and This Heat's Charles Hayward. Coloring in the songs in that manner might sound like the band were shoving a square peg in a round hole, but it undoubtedly contributed to the uniquely disorienting air that Odyshape thrives on. It's from a place where the Raincoats' best ideas stem – throwing orthodoxy out of the window, playing on instruments with which they weren't familiar, assembling all the parts back to front because the standard way of doing things held little or no interest. [8]
BBC: If The Raincoats’ beautifully scrappy self-titled debut seemed to hail from a different territory than most of its post-punk peers, then its follow-up, 1981’s Odyshape, was from an entirely different planet. While the first album had employed a traditional guitar/bass/drums set-up bolstered by the plaintive and dissonant violin of Vicky Aspinall, Odyshape added instruments such as balophone, shruti box and kalimba to the band’s panoply. More than the exotic instrumentation, though, it’s the extraordinary structures of Odyshape’s songs that distinguish it. (...) This was simply one of those moments when some very talented songwriters, influenced by the right things at the right time, produced a unique album. It should be considered a classic.
Drowned in Sound: [Kim Gordon's] love of The Raincoats is clearly sincere, and one sentence in particular – 'They seemed like ordinary people playing extraordinary music' – is especially wise. [8]
She Shreds – 40 Years of Fairytales: A Retrospective of The Raincoats: It mostly began when Birch and da Silva met at Hornsey College of Art, where they were both studying, and started going to punk gigs together. They saw bands like the Sex Pistols, the Buzzcocks, and Subway Sect, but it wasn’t until they saw the Slits play their first gig in London in 1977 that their brains were jolted. “I was completely blown away”, says Birch over Skype, laying on a couch in her home, eyes closed to conjure the moment. “It was as if suddenly I was given permission. It never occurred to me that I could be in a band. Girls didn’t do that. But when I saw the Slits doing it, I thought, ‘This is me. This is mine.’ ” (...)
Odyshape developed an experimental free-jazz sound. “I suppose we were exploring more things,” says da Silva. “The first album, we didn’t know how to play that well. The whole punk thing inspired us. It was more direct. Then we started floating away.” A stand-out on the album is the opener, “Shouting Out Loud”, which begins with airy drums, sparse guitars, and a driving bass. “I love that bassline”, says Birch. “In the second half of the song it’s the spine, and it meanders all over the place. If you listen to it without hearing the bass, then you’re missing such a huge part of it.”
Vulture – How a British Post-Punk Group Influenced Entire Generations of Rock Bands: 1981’s Odyshape is even more thrilling, showing that the Raincoats were intent on breaking through the parameters of punk to further the resonance of their songs: there’s the rush of violin and roiling drums on the poignant “Shouting Out Loud”, the piano ballad turned hushed skank of “Dancing in My Head”, a heartbreaking lullaby plucked out on kalimba for “Only Loved at Night”.
The Quietus – INTERVIEW: The Raincoats: If the band’s debut denoted a predilection for noisy, primitive post-punk, then their 1981 follow-up Odyshape exposed even more of The Raincoats’ idiosyncrasies and wide-ranging influences by incorporating British folk, dub basslines, polyrhythmic percussion and elements of free jazz alongside other world music influences. This diverse hybrid of styles resulted in the band becoming imperative proponents of Britain’s underground music history.
The Washington Post – Gina Birch of the Raincoats on 'Odyshape' 30 years later: I suppose partly we were naive, partly we were idealistic. Perhaps it’s the same thing, they go hand in hand to some degree. I think in a way that makes it good — that we weren’t trying to conform to what people might expect from us. (...) Also we were girls — women — doing stuff and there weren’t very many women doing things. The expectations on us weren’t... we knew we were breaking through a little wall, if you like. Breaking through some kind of boundary. So we were going into unexplored territory.
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