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Trading Snakeoil for Wolftickets

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Reseña de álbum

If Gary Jules' debut album was a superb collection of songs (a few of them dating back to his late teenage years), Trading Snakeoil for Wolftickets is a stunning, focused follow-up. Reflective and melancholy, dusk-colored and dreamlike, it finds supreme repose through songs of somber experience. Composed in the concentrated two-year span after being unceremoniously dropped from A&M and recorded essentially on his own, the album is a wellspring of songcraft that charts a course through tangled emotions. Jules' voice betrays many things — hurt, disappointment, and uncertainty, but also, importantly, recognition — and the songs find a range of moods, from the joyous, late-night-with-loose-change-in-my-pockets ode "DTLA" to the breathtaking resignation of "No Poetry" and "Something Else." On the surface, little seems to have changed about the music. It is still a fragile but lush wish: the cymbals whisper, and acoustic guitars pick out the delicate melodies while waiting for the occasional, flirtatious reply of soft electric runs. But in every way, Jules has grown as an artist. Trading Snakeoil for Wolftickets plays out like a song cycle. It documents Jules' convoluted relationship with Los Angeles, an adopted home that retains an unrelenting hold over the songwriter, and the music is imbued with the city's spirit. You could even say that Hollywood acts as a character of sorts on the album, both a protagonist and antagonist, sometimes standing at the center of songs, sometimes fading into soft focus behind Jules' stories, but always, in some way, casting a shadow. The album moves through vaguely cynical expressions of dejection, toward acceptance, before finally inhabiting a humble, restive place, a personal journey that culminates in "Umbilical Town," on which Jules lingers in the past for a few brief moments before letting go of it all. And in the stark ghostliness of Tears for Fears' "Mad World," hauntingly rearranged as a piano ballad, he comes up with a performance that more than matches the work of Cat Stevens in terms of solemn, profound beauty, isolation, and depth of searching. Trading Snakeoil for Wolftickets takes on a shimmering glow. Gracious and redemptive, it is a rapt, quiescent masterwork.

Reseñas de usuarios

Excelente versión

A veces nos encontramos con covers que superan a la canción original, aunque es difícil. Y más difícil aún si se trata de una buena canción de Tears for Fears. Pero en este caso, creo que el cover superó a la original. Esta versión la escuché por primera vez en la escena final de Donnie Darko y se me quedó muy grabada (según yo es hasta una pista para interpretar el final de la película).

MAD WORLD ♥♥

Adorrooo la cancionnn
La conoci en un video de youtubee qe se llama kiwii
me hizo llorarr :(

Buenoo la cancionn esta superr =)
comprenlaa

Biografía

Nacido(a): 17 de noviembre de 1967 en San Diego, CA

Género: Bandas sonoras

Años de actividad: '90s, '00s, '10s

A talented and versatile film composer, singer, songwriter, and producer, San Diego native Michael Andrews began his professional music career in the early '90s as the frontman and co-founder of the West Coast alt-pop band the Origin. The group issued a pair of major-label outings in 1990 (Origin) and 1992 (Bend) before going their separate ways, and in 1993 Andrews joined the genre-defying acid jazz outfit Greyboy Allstars (he performed under the moniker Elgin Park), with whom he would score his...
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Trading Snakeoil for Wolftickets, Michael Andrews
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