As their media
neighboring Sweden, Denmark, unlike other European personalities, has failed to produce a pop that, based on purely Anglo coordinates, take a look self-mixing product of a more or less equal, "understood from a territorial point of view and idiosyncratic, of discernible roots. So the weapons have to be sought beyond the deepening and the emulation of British and / or American. And among those who have had more luck in the endeavor (because they also have worked more thoroughly), this key combo of Copenhagen (the majority religion in their country and we could make two large compilations with songs no huge difficulty) formed in the early eighties and led by guitarist Henrik Bailing, authentic compositional level engine, along with his faithful squire Allan Jensen, charismatic and effective vocals over the more than twelve years of their existence as the fertile group and society that formed.
Here is a brief reminder of the essence of these incontinent discography goldsmiths silk and bits.
The twist (1984)
Your hard twee par excellence, long before the design took peak. It is said primarily influenced by The Smiths (perhaps reflected in "Violence, easter and Christmas", a slipstream of "This Charming Man") but leave room for doubt when weighing the two debuts are published in the same year, and generally the first steps of both bands are very parallel. It is full of little gems of indie-pop, with a short song filtered through the soft, warm influence of pop jazz ("The Idiot"). "Boys in the river" is a fierce single that introduces the influence of The Cure, which is more than obvious "circa" Faith "or" Pornography "- in" What? ", Reaching the latter to completely unbalance a disc at other times seems to run more sunny intentions (musically). "On the roof" also belongs northernmost counterpoint, and could be signed without blinking our Lady goes down, with that mixture of landscapes and intimate acoustic pulse. In short, delicious and more than competent, it is not a perfect record for cases like "What?", But still enjoyable more than a thousand years later.
Sitting in the park (1986)
"Call up" a song included on their debut album, anticipated the nature of their next steps. Is toward the drive of the sixties more 'British', and in general to the more classic pop that part the world. Kinks, Beatles, XTC and Madness are the unwitting mentors of this masterful collection of songs that start, abusive, with two of their most memorable songs, "The party is over" and "My girl and me", not to mention the song that title to the whole album. It's perfect pop, clear, familiar to the smallest detail of the most basic springs timeless sap of drinking. Amplified springs and judiciously adapted, this time without forgetfulness or missteps, with the provision of sophisticated point of the time ("Bound to grow up") in which they had to publish them. Cuts like "Too much talk" put the finishing expressive and radiant harmonies and rhythms, and songs at first only published in separate singles as "Out of the rebound from love" or "Here's my house" (this and definitely danceable and electronic) only add and fit in a revised, and published two years later that titled "Sitting in the park again" more reasons to love this superb album and inexcusable, the "Skylarking" continental.
The quiet boy ate the whole cake (1991)
much life had "Sitting in the park," which spent a whopping five years until unearthed Gangway a new collection of songs. By the way not only invested the time, but a radical change of approach, until virtually the eve of the birth of another group. As a "Technique" or "Violator", the "Behaviour" Pet Shop Boys certainly rewrote the concept of electronic pop at the junction of the eighties and nineties. Perfume and ways-especially-the latter will take careful note Balling and company, not only in this "The quiet boy" but in all subsequent deliveries will be forever. "Going Away" is the undisputed classic that will stand above the rest compositions, but "Strawberry cat" or "Do not ask yourself" flying well as singles on a hard accurate perhaps too embedded in arrangements and melodic newly discovered drawings and fortunate as appropriate. Closes the album "Thermometer song" expansive and painfully sexy ballad.
Happy Ever After (1992) Prodigious
sampling of the possibilities in Denmark. We can use the topic and drop what you have everything to be confused with a greatest hits of all life, but oddly enough, is not the last. This time it's only been a year since "The Quiet" and the ideas are clarified and consolidated. There Pet Shop Boys (which, incidentally, very early fans pleaded Gangway, producing a feedback for the less funny) in its purest form - "You and yours", "Hey little darling", "Do not go "- shots to the New Order -" Blessed by a lesser god "- or very torch songs Marc Almond -" Never say goodbye "- but also other records more" classics. " So "Mountain Song" would be no problems in the best repertory-camp-section of The Divine Comedy, "Once in a while" ( "I'm Allergic to sentiment / Depending on a lie ") containing the nectar collected by pop maestro Paddy McAloon and" No Matter What "(live) smells like old standard-alien-and when the credits confirm that speak, once again, no more homegrown or less in all cases. The summit.
Optimism (1994)
More than ever dance-oriented pop, their next steps will not break any, if anything more deeply into the territory in his previous addresses. The exaltation of "A Million Words" or "Endings" is a measure of a musically less inhibited Gangway than ever, but as careful as ever with the melodic palate. There is a hole for a very recognizable and sympathetic impulses synthetic Hispanic "Sycomore sundays" and for the inevitable times with tears filling means all - "Day by day" Fade Away "," Sick head "- which seamlessly blend inspiration and trade.
That's Life (1996)
Farewell and closing. Line and the suspicion that this epitaph is among their top three jobs. A new mix of "Steady income" as previously included in "Optimism" infectious and better opportunities. Depeche Mode - "Nothing's the matter" - and Tennant & Low - "Never turn", "Why do i miss you" - in this new electro-pop tried hopelessly romantic and sensual. Delicious choruses - "I Could Be Wrong" - and sweeter ballads - "April fool" - to end a nearly flawless adventure in mood thorough.
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