Peter Bruntnell ‎– King Of Madrid

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Cat# Artist Title (Format) Label Cat# Country Year
DMR1964 Peter Bruntnell King Of Madrid(CD, Album) Domestico Records DMR1964 Europe 2019 Sell This Version
BLU DP0733 Peter Bruntnell King Of Madrid(CD, Album) Blue Rose Records (2) BLU DP0733 Germany 2019 Sell This Version
BLU LP0733, BLU DP0733 Peter Bruntnell King Of Madrid(LP, Album + LP, S/Sided, Album + CD, Album) Blue Rose Records (2), Blue Rose Records (2) BLU LP0733, BLU DP0733 Germany 2019 Sell This Version

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streetmouse

streetmouse

June 12, 2019
referencing King Of Madrid, CD, Album, DMR1964

Let’s face it, Peter Bruntnell has been at this for more than twenty-five years now, where he’s never going to travel anywhere but the middle of the road. That’s by no means saying that Bruntnell isn’t good, it’s just that he’s another one of those cult artists for whom I pick and choose the material that rides most comfortably in my back pocket.

I was sincerely looking forward to King of Madrid, as the album was touted to be a return to his more pop oriented psychedelia, though sadly, it never really ventures down that path. That’s not to imply that there isn’t some good material to be found here, “Dinosaur” will instantly flashback visions fo the Monkees’ and their wonderful hit “Last Train To Clarksville,” though it’s not until the final track “National Library” that he at all rocks out, leaving this release for the most part sounding very melodic, sort of dreamy, though with little to hold my attention; where he comes off as some sort of latter day version of Nick Drake. It’s the sort of music public radio stations will fancy playing on a Sunday morning with the sun peaking in through your curtain lace as you burry your head beneath a pillow, hoping, but failing to capture a few more minutes of delicious sleep.

There are those who are going to imply that the album is bathed with wondrous textures of sounds, with electric guitars forever waiting to be let off the leash, which sadly they never are, they’re merely light handedly washed with a layering of acoustics and effortless keyboards designed to create a sonic tapestry … yet never really do. Of course the real kicker is when someone looks you deeply in the eyes saying that it’s Burntnell’s mastery of the song and his excellent delivery that are resounding, but that’s not really true either, that’s just an excuse to justify getting you to purchase this album, or the vinyl, though when you do, once played, it will be shelved, never to call out as your hand glides across your collection seeking something to play.

Of course, what really got me was hearing critic Angus Batey say, “The Fools of course are the the vast majority of the world’s listening public who have stubbornly refused to pay much attention to Bruntnell, even with ringing endorsements from the likes of Peter Buck (REM) and Jay Farrar (of Sun Volt).” Well Mr. Batesy (who’s five grammatical errors in one sentence I’ve corrected), I’m not a fool, I listen with a concerted effort, and I don’t like REM, even less do I like Peter Buck’s solo material, while Sun Volt are rather sketchy as well, so you’re either hearing something I’m not, or you’re just a gusting fan trying to convince the world that the record is a canon of classically constructed melodically rich lyrically ingenious and emotionally intellectually affected songs that can stand toe to toe with any of the all time greats, but alas, Bruntnell can’t … that’s just a fact.

Peter Bruntnell is never going to become a musical household name, and King of Madrid is not going to bring him any closer to being one.

Review by Jenell Kesler