[Translated from the Italian via Google. Read the original here.]

The physical distance between the components of a given band is now a more and more relevant, not only for the electronic experimenters who exchange files from one corner of the globe, but also for artists who put the writing and the cohesion of melodic songs at the center of their expressive code. It is a well-established for [The] caseworker, quartet whose members are spread between California, England and Switzerland but maintains its roots firmly on the U.S. West Coast.

Like last ” Letters From The Coast “, also their fifth album” Voices Out There “was in fact recorded in San Francisco, in the same studios that have seen the birth of the latest works by Soft Moon and The Weekend. Probably the latter figure was partly plagued the band led by brothers Conor and Eimer Devlin, whose Popsong agile and sadly you are now cloaked in wraparound shades shady. Not for this is missing the potential of melodic songs, however, who see their times and languor slowed moderately jangly outcropping in previous work become more full-bodied and dark reverbs.

Although in particular the first part of “Voices Out There” maintains suspended atmospheres and dreamy, soaked by salt breezes (“Ultramarine”, “Dependence Day”), explicit twists distant echoes from the garage and turbid feedback (“Morgen-shelf”, ” The Inside View “) deviates decisively towards gothic setting, although tempered by flowing melodic fading, which are interpretations of Conor Devlin complement of unpredictable natural.

The restyled sound [The] caseworker will weigh in part the immediacy of the songs, making the pass band stationed in Europe and America from the sweet nostalgia of Teenage Fanclub reminiscences wave veiled by a dark patina that only the persistence of a dreamy melodic touch features compared to the revivals of many other American bands in recent years.

Music Won’t Save You