Wow. If ever I wondered if the music I listened to in the 90's would leave a lasting legacy my doubts have been answered singularly by The Big Pink. This band so readily and so happily embrace the British pop scene from the years 1990-1992 you'd almost swear that they were from that time period. If you can imagine Curve with a male vocalist instead of Toni Halliday than you kind of have an idea of where The Big Pink are coming from. Their album Future This is a record so lost in miasma and baggy beats that it only makes sense that legendary mixer Alan Moulder worked on the record and gave it an authentic early 90's sheen to it.
Instantly accessible and incredibly good Future This will hold your attention for the duration of it's 45 minutes. With shimmery guitars, electronic beats, ethereal vocals and songs that seem to whisper by Future This is a sweeping, vaporous album that's simply mesmerizing. With riffs rattling around empty spaces in your head and invisible hooks holding your ears firmly in place once The Big Pink get started they simply will not let go of your attention span. That's fine as far as I'm concerned because this is such an amazing post-shoegazing album that it deserves my constant attention.
Future This is just about perfect. The Big Pink's admiration of the early 90's, the use of Alan Moulder and Paul Epworth, the hazy songs, the reverberating and semi-gothy overtones all propel this album to starry heights. Future This proves time and time again that despite being lambasted in the music press Shoegazing was one of the most important movements in British pop over the last thirty years. The Big Pink have tapped into that and made it their own with Future This. It might only be January, but this is easily going to be one of my Top 25 albums of 2012.
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