eMusic Review 0
1984 was a hell of a year for what might be termed post-post-punk, a wave of (mostly) British bands that channeled post-punk's stark anti-glamour into a new strain of dark, yearning pop music. It was the year of the Smiths' debut, the Cure's Japanese Whispers and The Top, Siouxsie and the Banshees' Hyaena — and Echo and the Bunnymen's Ocean Rain. Where the previous year's Porcupine was often as prickly as its name suggested, bristling with dissonant riffs, Ocean Rain found the band embracing its pop aspirations and perfecting its balance of straightforward rock and prog-inflected grandiosity, with no-nonsense bass and drums anchoring songs that spun off into string vamps and billowing acoustic guitars. Their songwriting shines like never before across songs like "Silver," "Crystal Days," "The Yo Yo Man," "Thorn of Crowns," "The Killing Moon" and "Seven Seas," which present some of the most memorable hooks of the band's career: sidewinding melodies that never seem to stop climbing, while McCulloch's powerful tenor soars above it all like some bulky but majestic bird. For a band with their eyes on the arena, they could also be refreshingly down-to-earth: for all the high drama of the strings on "Silver," McCulloch stays… read more »