Cinnamon Chasers é o alter ego de Russ Davies, filho de um dos elementos dos The Kinks. O londrino lançou este ano o álbum de estreia, A million miles from home, onde faz a ponte entre as sonoridades retro e a pop electrónica da actualidade. O resultado é um álbum onde entra o disco, a pop, o electro e ambientes synth. Um disco para ouvir sentado num sofá ou simplesmente para dançar, mas com tranquilidade. Mais um dos bons álbuns saídos este ano."Davies has “DJ’d” globally for the last four years investigating Japan’s experimental electronic festivals and warehouse parties in Russia. It’s not surprising that this album shows such range and breadth – Davies has an open and gifted approach to songwriting.
That said, we all know that being “a million miles from home” has its joys and peril and that is what this 12 track project investigates. The film, 'Flight of The Navigator' was cited as another major influence and this wide-eyed wonder is evident in several tracks.
'Jetstreams' has a high- bobabillity quotient and it eases your central nervous system with the limbic lyric, “always in my dream.” 'Lux Deluxe' broaches blossoming, instrumental bliss. 'Modern Love' features edgy melodies that whittle their way through robotic utterance. 'Candle Lights' engages both voice and instrument in a bittersweet electronica chase. 'Adored' begins with a menacing thrash, then shifts into savy bleeps that bleed imaginatively – regaining their panache when explosive super novas collide.
The vocal serenade in 'Wishing for the Fire' is like liquid glass – spellbinding and constantly shifting. 'The World is Yours' is steeped in minimalist motif. This crackerjack box of prizes contains layer after layer of revealing passages. A parade of discordant notes mingle with drums, then evaporate. When it all gets just too intergalactic and starry, 'Ray of Sun' appears – with its coarse cry for help – it’s a parfait of celestial dream and David Bowie pyrotechnics.
'Your Heart Doesn’t Open Anymore' belies the thumping bass, but impassions scrumptious, pulsating, baroque-tinged vocals. 'Ultraviolent' is like a Rubik’s Cube – it is equipped with mysterious imaginings that juxtapose fragments of lucidity. The penultimate 'White Flag' with its percussive hijinks strokes the soul as legato skips hobble randomly and suddenly you’re engaged in a brazen flurry."
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