Bleached
C’est après une poignée de singles très bien accueillis que BLEACHED, formé des deux très jeunes sœurs Jessica et Jennifer Clavin, a sorti en avril 2013 son tout premier album qui mériterait une récompense pour le titre le plus cool de l’année : « Ride Your Heart ». Repéré par le prestigieux label Dead Oceans, BLEACHED impressionne avec son punk sorti tout droit de 1977, gorgé de mélodies rock’n’roll ensoleillées typiques du sud de la Californie. Chacun des douze morceaux de « Ride Your Heart » révèle un peu plus les nombreuses facettes de la musique de BLEACHED dans un déluge d’harmonies et de guitares enchevêtrées, évoquant aussi bien les Ramones et les Cars que les Rolling Stones et Fleetwood Mac. Une prodigieuse entrée en matière.
« Venues de Californie, deux soeurs pétards excitent le punk-rock » Les Inrocks
English
Los Angeles-based sister duo Jennifer and Jessie Clavin knew that things were going to be different for their band Bleached sophomore LP Welcome The Worms. Not only had they managed to charm world renowned producer and engineer, Joe Chiccarelli (Morrissey, The Strokes, Elton John) to join the sisters and their bassist Micayla Grace in the studio, but Jen and Jessie had been crawling out of their own personal dramas. Jessie was evicted from her house and scrambling, while Jen ended a torrid, unhealthy romance. While emotionally spinning, she dove head first into music. She struggled and escaped the pressures with drinking and partying, sometimes to excess, feeling like she was losing herself altogether.
Welcome The Worms is an ambitious rock record with a new found pop refinement that somehow still feels like the Shangri-Las on speed, driven forward in a wind of pot and petals, a wall of guitars in the back seat. « Keep on Keepin’ On » is a hypnotic opening anthem that spins like a kaleidoscope, while « Sleepwalking » and “Trying To Lose Myself Again” invoke the struggle of floating through life on autopilot. The drums are instinctual, while the bass bounces like a rubber ball over the lyrics on a karaoke screen. « Sour Candy » is a stand-out hit so effortless and catchy it sticks in your head for days. Synth is only brought in as a thickening agent, just like the harmonies. « Chemical Air » and « I’m All Over The Place (Mystic Mama) » toy with pop sensibilities, while « Desolate Town » shows Jen getting weird on the verses before a Cobain-like chorus.