Strange

Strange Boys

The Strange Boys: another rollicking 60’s influenced garage
band obsessed with nuggets? Well,

yes, they were, as their debut album proved in ’09.

But these Texan’s have taken a much more rootsladen approach on their follow up; a slow and at times somewhat tender take on blues, rock’n’roll
and R’n’B.

You’re no doubt expecting the vivacious and at times vicious approach of bands like the Black Lips once again but

The Strange Boys, these days, evoke sounds of classic 60’s pop records, moments of Johnny

Thunders & the Heartbreakers and even elements of the White Stripes
at their most playful,

which is certainly aided by Ryan Sambol’s coarse, twisted and strained vocals.

Clearly an album firmly rooted in the 60’s, it’s a refreshing change to
see it approached from a different

angle – from that of a band getting better

proclaimed “non-musician” who has painted and then shifted the landscape of contemporary music more than almost any other British
artist.

Brian Eno is both the question mark and the answer locked in a
constant battle.

To condense Eno’s achievements and projects over his life (he’s now
nearing 70) into something digestible feels both arduous and somewhat
futile.

His musical life has been somewhat episodic. In just a five year
stretch in the 1970s he went from his synth-playing days in Roxy Music to
his art-pop solo career,

to his ground breaking production work with David Bowie on the Berlin Trilogy,

as well as the likes of Devo and Talking Heads to the ostensible invention – or at least popularisation – of ambient music.

It’s the latter we’re here to talk about today.

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