Oasis 'Don't Believe The Truth'

As sure as spring follows winter, the release of a new Oasis album sees the Gallaghers adopting the same tactical approach to selling their wares: Liam comes out punching, kicking and swearing in his own unique, inimitable style as he delivers his State of the Musical Union address while Noel, slightly more pensive though no less acidic, will declare his current platter to be the Best Oasis Album In The World – Ever! before disowning it in the manner of someone who’s dropped a fart in a packed lift. Never mind believing the truth, it’s hard to believe in a band that doesn’t seem to believe in itself.

So it’s with a degree of trepidation that 'Don’t Believe The Truth' is approached. Unlike the stadium-packing behemoth that is U2, you never get the sense that Oasis keep their finger on the pulse, let alone switch on the radio. Whereas Bono and co. agonise over each release, making sure that it sounds in keeping with the times yet striving for timelessness, it’s difficult to shake the feeling that for Noel and Liam, music stopped being interesting in 1973. And yet, despite this, there’s a perceptible shift forward from the execrable 'Standing On The Shoulder Of Giants' and 'Heathen Chemistry' albums that finds Oasis in a rather interesting place.

Part of this is down to the presence of guitarist Gem Archer and bassist Andy Bell and for the first time in what seems an age, Oasis feel like a band again. With song writing duties split amongst the players, 'Don’t Believe The Truth' has the feel of a group effort even if not all of the material is as great as it thinks it is.

Predictably, 'Don’t Believe The Truth' is mired in the 1960s though with the Velvet Underground pastiche 'Mucky Fingers' Noel has at least broadened his musical tastes from the usual Beatles/Stones/Kinks/Who influences. But not by much; as the vaudevillian Kinks-ian romp of 'The Importance Of Being Idle' proves, Satan will be skating to work long before Noel considers an extended feedback-drenched workout chronicling the adventures of junkie transvestites. Elsewhere, the acoustic waltz of 'Part Of The Queue' offers a lightness of touch that seems positively adventurous for him though it’s impossible to take seriously his claim, “I’m having trouble just finding some soul in this town” when it’s the one thing that’s lacking from their music.

The same can be said of Liam’s yomping 'The Meaning Of Soul' though his 'Guess God Thinks I’m Abel' is the best of his song writing contributions thanks in part to his uncharacteristically restrained vocals and the pastoral acoustic backing of the band. Andy Bell’s 'Turn Up The Sun' is a tiresome retread of his Hurricane #1 when what’s called for is the kind of lush wig-outs that he delivered with Ride though he does redeem himself with the lighters-aloft 'Keep The Dream Alive'.

Best of all though, is Gem’s 'A Bell Will Ring'. Despite its reliance on the staple Oasis clichés of the sun shiiiiiiiiining on you and the obvious steal from The Beatles’ 'Tomorrow Never Knows', it’s nonetheless propelled by a sense of urgency and purpose that’s been missing from Oasis for far too long. So, with this in mind, is 'Don’t Believe The Truth' the best Oasis album since '(What’s The Story) Morning Glory?' No, that honour still lies with 'The Masterplan' but there is enough evidence contained in these here grooves to suggest that Oasis will at least move some distance away from being their own tribute act.

---

Autor: Julian Marszalek

Quelle: xfm.co.uk