10 Fakten zum neuen Album von Noel Gallagher:
Noels’ new record sails through at an even pace, like a convertible cruising down a desert highway at about 80 miles per hour. It never quite gives you an adrenaline rush, but it has no interest in slowing down either. Tracks like the gritty/driving “The Mexican” demonstrate this, as it jams the crunchy guitar and cowbell until you bob your head so much it falls off.
“The Dying of the Light” is one of the most striking songs I’ve ever heard from Gallagher, Oasis included. It’s a little haunting, a little atmospheric, with melodies falling perfectly into place as they start stacking and congealing.
A new addition to the sound is the placement of a few smooth saxophone solos, which are set to some 1970’s psychadelic jams in “The Right Stuff” and “Riverman”. Other tracks are filled with guitar solos, interesting tones, instantly-recognizeable melodies, and prominent groovy beats.
If you’re looking for some of that early Oasis-y rock sound, you’ll find it in the fist-pumping “Lock all the Doors”, which definitely maybe harkens back to the familiar sound of 1994’s Definitely Maybe.
It seems that Noel Gallagher has reached a point in his songwriting career where he can just crank out tunes at a level that most artists never quite achieve. Obviously, you need to enjoy (or at least tolerate) the Brit-Alternative genre in order to appreciate his work, but this new collection is full of really well-written songs. It might take a few more listens to evaluate properly, but Gallagher may have just outdone himself. In the few years he has been solo, he certainly has outdone much of the Oasis body of work.
Last year, longtime associate and occasional hype-man Mark Coyle predicted that 'Chasing Yesterday' would be a “seismic” release. As it turns out, that’s only three quarters true. You can guess from the title, for example, that ‘Riverman’ is going to plough a distinctly Wellerian furrow, though you have to admire Gallagher’s chutzpah in sticking a Dick Parry-style sax solo (now there’s a Liam-baiting phrase if ever we heard one) on the end of it. ‘The Right Stuff’ features even more skronking, adding a further layer of jazzy noir to a stew of psych, soul and blues that could’ve been cooked up by Primal Scream. The Johnny Marr-featuring ‘Ballad Of The Mighty I’, meanwhile, might self-plagiarise from 2011’s excellent ‘AKA... What A Life!’, but as evidenced by ‘Lock All The Doors’ – which does much the same thing with Oasis' 1995 classic ‘Morning Glory’ – the trick is to crib from the right places, whether they’re his own songs or somebody else’s.
Which brings us back to our original question: what do we expect from Noel Gallagher? Too much, probably, like all the other ’90s Britrock titans who’ve never been adequately replaced. 'Chasing Yesterday' has its flaws, but they’re far outnumbered by moments where it succeeds in catching up with its titular quarry. The past will never be a foreign country to Noel Gallagher, but from this vantage point, tomorrow is looking pretty rosy.
19.03.15 Düsseldorf, Mitsubishi Electric Hall
19. / 21.06.15 Hurricane Festival, Scheeßel / Southside Festival, Neuhausen