“Popshaped” is yet more of Wimpshake's potent mixture of fizzing pop tunes, punk attitude and protest folk. Ever a band to look after their fans, alongside the new songs are re-recorded versions of tracks from deleted singles and compilations, including the band’s live staple, their wonderful medley of Daniel Johnston’s “True Love Will Find You In The End” and Jonathan Richman’s “Don’t Let Our Youth Go To Waste”. Other highlights are the thumping “Sensible Shoe Blues”, the heartfelt manifesto of “Cheque Card” and the Phil Och’s inspired “Here’s To The State Of Mr. Poodle” (no prizes for guessing who that’s about). Deliberately arranged with a running order typical of a Milky Wimpshake gig, the excitement builds towards the rock’n’roll riffarama of final song and live encore “Milkmaid”.
Milky Wimpshake’s 2002 tour with The Futureheads led to Christine providing them with the inspiration for their famous cover of Kate Bush’s “Hounds Of Love”, but Milky Wimpshake’s own cover versions are equally inspired. Here they cover local North-East artist Nev Clay’s “Pearshaped”, a tragicomical tale of love gone wrong and indelible ink, and a real stand-out track. With a Things are unlikely to go pearshaped for Milky Wimpshake though, it's “Popshaped” all the way.
This is the third full-length album from Pete Dale and co., though it's not an album in the traditional sense (like anything Milky Wimpshake does is traditional...) - this is a combination of old and new compositions recorded over the past couple years. In addition to new songs like "(I'm Saving Myself For) You" and "Don't Get Down (Get Even)", we also get reworked versions of old favorites like "You're Shaken, I'm Stirred", "Cheque Card, "Kickstart Affair" and the Johnston/Richman one-two punch of "True Love Will Find You In The End/Don't Let Our Youth Go To Waste". Some of these songs date as far back as ten years ago, but sound just as good today! The sound is pretty similar to their last record, effectively mixing the style and heart of indiepop, punk and folk into 1-3 minute bursts of energy, with Pete's usual clever, socio-political lyrics throughout. We also get another Phil Ochs cover (though with reworked lyrics), and another cover of a friend's band (last time around was Spraydog; now it's Nev Clay). Milky Wimpshake records are always a lot of fun, and this one is no exception.
Milky Wimpshake is one of the many projects of Pete Dale, something of a diskant hero for Slampt, Red Monkey and the awesome Fast Connection zine and this is partly a collection of old 7"s and partly new songs. Milky Wimpshake make punk pop in the classic 80s indie style; short and simple with cleverly intelligent lyrics on love, politics and people. It’s got charm and heart in shovelfuls whether the subject’s Spiderman comics, the state of the current government or just simple love, love, love. With uncomplicated guitars, perky organ and heartfelt vocals it reminds me most of Heavenly and The Wedding Present and makes them a band for incurable romantics everywhere.
Milky Wimpshake isn't nearly as wussy as its moniker suggests. In fact, making music that sounds so stupid-easy on the surface and yet is so shamelessly heartfelt at its core takes balls. Pete Dale, the onetime Slampt record label chap, is the lanky, leftist vegetarian not-poet at the helm of these twee anthems. More than a decade into their this-isn't-work, it's-cherry-water-ice career, he and the Wimps keep churning out love songs for punk rockers. These 18 tracks are split between new tunes and reprised hits from deleted singles and demo tapes. The lyrics aren't deep ("I've got no money, but at least I've got love," "I love you Spider-Man, for always"), but you'll want to Sharpie them on a T-shirt anyway. Philly DIY imprint Bitter Like the Bean issued this on the tried- and-true LP format. It's worth the trouble of dusting off the record player.
(Philadelphia City Paper)
There’s nowt like reading a proper unbiased review of a band you’ve never heard of, is there? Well, be warned dear reader, ‘cos this is gonna be nowt like a proper unbiased review etc. You see, we’ve got history, Milky Wimpshake and me. Living in the gig wilderness that was 90’s Newcastle, you had to find your own local favourites instead.
Step forward Pete Dale, one-time überlord of the indier-than-thou Slampt imprint, and his trusty sidekicks Christine and Grant. As a DIY label boss and promoter, Pete did the spade work that paved the way for the current crop of North East flavours of the month, including The Futureheads and Maximo Park. It’s highly unlikely that ‘Popshaped‘, an endearing cross between a new album and re-recorded rarities collection, will put them in the same league of mainstream acclaim, but it’s a record to treasure all the same.
For any newcomers here, Milky Wimpshake play love songs for punk rockers. Their most obvious forefathers are the Buzzcocks, and their rough-hewn pop-punk sound pervades the likes of (I’m Saving Myself For) You and My Heart Beats Faster Than Techno, which are achingly romantic and full of sexual longing at equal turns.
Dale has always had the courage to marry social politics alongside personal ones as well, and this album is no exception. Here’s To The State Of Mr Poodle, borrowed heavily from 1960’s ‘singing journalist’ Phil Ochs, is a damning indictment of, yes you’ve guessed it, Tony Blair, and Don’t Get Down (get even) is a rallying call to emotionally and physically abused women everywhere without even the faintest whiff of patronage.
The band also do an incredibly nifty line in cover versions. Pearshaped, originally by another unsung Geordie gem Nev Clay, is a tale of a relationship gone wrong as equated to an indelible ink image of Andy Cole after his departure to the Scum, whilst their medley of Daniel Johnston’s True Love Will Find You In The End and Jonathan Richman’s Don’t Let Our Youth Go To Waste is simply one of the most awe-inspiring re-workings ever.
It’s a new song that just wins by a short head here though. Hackney, a paean to both the East London suburb and taxis, is simply sublime. Anyone else daring to write a verse like “The first touch was our noses, a bump into each other; that’s the way it goes-es, I had to phone my mother” would command nothing less than a slap, yet somehow in the hands (and mouth) of Dale it’s the sweetest thing you’ll hear all year.
Put simply, there’ll be very, very few records better than ‘Popshaped’ in 2005. You might not believe me as I’m utterly biased, but I’m also right.
They’re back. The leaders of the North East DIY scene return with a haphazard collection of new and updated tunes (the ‘Tried & Tested Formula’ that gives the LP its alternative name). Like MJ Hibbett, Milky Wimpshake’s Pete Dale has a way with words when it comes to describing foibles and such with a left-wing political bent. However, rather than being a singer-songwriter type, he has assembled a band of three to deliver his songs with a Medway punch but also the deftness of the new-wavers and the spirit of the Buzzcocks. Its not as coherent a collection as their previous LP ‘Lovers, Not Fighters’, nor are there as many standout songs, but a cover of ‘Pearshaped’ that strengthens the foundations of Neville Clay’s excellent tune , the prevalent sense of fun on ‘Spidey’ (and others) as well as the glorious ‘Milkmaid’ finale will keep this one spinning.
Aahh..the mighty ‘Shake. For nearly ten years now this wonderful flop ‘n roll band have lightened up my life with their tales of love, loss and dirty politics.
‘Popshaped’ is no different, thanks goodness. Pete Dale still sings about girls he’s never gonna get, the welfare state, and the little man fighting back. And all above the greatest indie pop music.
This album is a collection of new songs and older stuff that never made it to record, or is dead difficult to get hold of these days. And how lovely of them is that?
On with the show! ‘Pearshaped’ is the first classic you’ll come across here. A cover of a Nev Clay song and featuring fantastically sardonic vocals from Cath Tyler, it’s jangletastic in the extreme, AND manages to slag off Patsy Kensit, and that’s just about everything a great pop song should, don’t you think?
Elsewhere, there’s the psych-pop of ‘Don’t Get Down (Get Even)’ – a great big swirly, deftly threatening song about the masses taking the power back – YEAH! – and remind me a lot of songs of The Housemartins’ ‘London 0 Hull 4’ album. And that’s high praise in my book, so there.
Meanwhile, back at pop central, ‘Needed: Heart Handbook’ is the song that the Shangri-Las never quite managed to record. But perhaps the greatest song here isn’t a Milky Wimpshake song at all. The medley – for want of a better phrase – of Daniel Johnston’s ‘True Love Will Find You In The End, and Jonathan Richman’s ‘Don’t Let Our Youth Go Waste’ is truly spine-tingling, and possibly embellishes even the brilliant original versions of both songs. For once, Milky Wimpshake play it totally straight – and with wonderful results.
And it’s followed up by the desolate ‘Cheque Card’, in which Dale sound both angry and desperate at the same time. Utterly beautiful.
For me, this is easily the best album of the month, and is up there with the Pipas album as the best this year has given us. And as long as Milky Wimpshake are still making records, then the world will be a more just place. Amen.
"...the way that you hang your head / appeals to me more than I think I should admit / if I speak in words of romance... is it slightly outdated / in this modern age?"
Yep, it's Milky Wimpshake to finish, but this is the easy one as they are, as ever the most immediate proposition of all these records, with Pete Dale's endlessly romantic, wide-eyed lyrics dovetailing with power-trio guitars and riffs that alternately recall Buzzcocks and Thrilled Skinny! (it's the lovelorn words that push them, as an overall package, much toward the former). For their third album, they've chucked in quite a few "old" tunes, although as MW are hardly the sort of band whose career has moved radically from one genre to another, this ne'er interrupts the flow of "Popshaped", which still contains 18 spiky tracks crammed fit to burst with hooks, minimal production, jaunty chord changes and ever-hopeful vocals (the optimism of "Don't get down, get even", previewed live a couple of years back now, being a prime example - wow, if memory serves they were being supported that night by an unlikely-looking lot called the Futureheads: wonder what happened to them ?). For me, the pace only slows on the two or three folksy numbers: otherwise, they are as vibrant and relevant as always. The production seems stripped down slightly from the last album: this is typified by a barer recording of "True love will find you in the end / Don't let our youth go to waste" which once appeared on the b-side of the classic Ferric Mordant 7" "Dialling Tone": but throughout there are very few noticeable overdubs, and less of the chunky keyboards that propped up some of the tunes like "Scrabble" on album number two, "Lovers not fighters". It's one-take stuff, mostly, but anyone who has seen them live (where they are even better) will not have any problem with this. Milky Wimpshake, I'm sure, would always rather be out there celebrating life and spreading enthusiasm for change rather than hiding away in a studio thinking up concept pieces or experimenting with string sections. Favourites ? There are loads - "Pearshaped" is a Nev Clay cover, a duet of sorts with Cath Tyler and the best of its ilk since "C Is The Heavenly Option"; "Not Poetry" is a stumbling, naive, gloriously throwaway bundle of self-deprecating joy; "Cheque Card", extracted above, sets out the can't-buy-me-love reality of life with all the sharpness of focus you'd expect; and " Needed: Heart Handbook" is their last single, peaking with a rushing, urgent chorus. "I need... to find a way / straight to your heart", sings Pete: he really means it, and believe me, he'll get there soon enough.
(In Love With These Times In Spite Of These Times)
That holiday in Mars lasted longer than I thought; how the flibbidydibbidydob have I not encountered the myriad pop sensibilities of Milky Wimpshake in my puff. When the current music scene seems to be hitting a brick wall in originality, it takes a ten year old band to breathe much needed life back into our veins.
Ok it may not be for you rock n roll kids out there but I am getting bored of all those shite imitations, music needs humour, a touch of politics, a broken heart and a tune. If you want to call it indie rubbish go ahead we can take it we are embracing the new ‘twee’ revolution and if you don’t like it we shall set our teddy bears on you.
Mix the punk-pop of the Ramones, the agit-humour of Half Man Half Biscuit and the wacky world of the Pooh Sticks and you get Milky Wimpshake and I love it.
‘Pearshaped’ is a cover of fellow North East artist Nev Clay and features the deadpan poptones of Cath Tyler amid the story of a tattoo of a favourite footballer who ‘left for Man U….that went pearshaped just like me and you’. ‘Cheque card’ has got the jangly guitar and the tune but it also oozes emotion, a song that attacks the modern consumerist society who would rather discuss an ISA than the foxy bassist in ‘Son’s and Daughters’.
This album of new songs and previously unavailable older material is deliberately arranged to resemble a typical gig and the album and the sets finale ‘Milk Maid’ is a one minute riff blast about a girl who earned her dosh as a milkshake taster. Perhaps their third album is an attemp to save rock n roll after all, nah burn the leather jacket and indulge in great songwriting with tunes for a change. This shares best album of the year so far with the Broken Family Band. Go see them live in a town near you very soon.
A compilation of old and new material and a genuine treat with the Neville Clay cover “Pearshaped”. (the Geordie songsmith who wrote the modern depression standard, “Your Dad Sells Lighters”) The bulk of this set is clever-kid punk, buckets of irony, pathos, gaucherie and all that, but the real elevator here is the sheer heart and brain of Pete Dale and the people he plays with. All the bases are covered, life, love, agiprop and straight out fun, the sound of Wimpy Milkshake remains both endearingly dated and first pint fresh, try it.
Yes, I’m looking at the band name, the album title, the embroidered heart on the front cover and the word ‘twee’ lodges its controversial self into my brain once again. But whether that’s a good or a bad thing usually depends on where irony levels lie, and luckily Milky Wimpshake’s tunesmith Pete Dale seems to mean what he’s singing, even if it is about girls wearing sensible shoes.
MW seem in thrall to punk rock in the same way that, say, Helen Love are (i.e. focusing on the sexually frustrated rather than socio-politically aggressive nature of a scene long past), but they give their songs a sincerity and skewed tenderness that saves them from being completely nauseating. Their influences are often quite obvious, and sometimes even paraded by the band themselves – they themselves mention Phil Ochs more than once, whilst their safety-pin-in-my-heart pop-punk style is the direct descendent of Buzzcocks, Undertones and the like. The inspirations for this album can be subtle too, with the odd hint of Jimbob Carter here, and a slight flourish of Billy Bragg there. Opener ‘Boxing Day Blues’ could also be the ‘serious’ side-project of Rather Good’s Joel Veitch. Really.
Admittedly, there are occasions when the band seem unsure about whether they want to put full emphasis on the lyrical love-letter form or the cheap pop thrill. Although punk and clever lyrics are hardly mutually exclusive, as shown by their influences, in places like ‘(I’m saving myself for) You’ the two seem to be pulling conflictingly against each other. The love song to comic books, ‘Spidey’, and the stab at political comment against 'Mr Poodle' come across as cringe-worthy and a bit too ill advised as well. But considering it’s 18 tracks long and almost half of the album is older material for Wimpshake completists, it’s commendable that there are only occasional setbacks. Because when Milky Wimpshake get it right, it’s marvellous, whether it's the handclaps and hormones of ‘Kickstart Affair’ (“you fill me with lust / I like travelling with you on the bus” indeed,) or the gleeful exuberance of ‘My Heart Beats Faster Than Techno’. And if there’s been a better old-wave one-minute pogo-along written since 1979 than ‘Milk Maid’, then its brilliance has made me temporarily forget it. Aw, how sweet.
“It’s a cliché to sing about it, the Beatles did it 50 years ago, and I always thought that song was clumsy but now I understand…” Looks like it’s time to fall in love again.
(Drowned In Sound)
Shambling lo-fi breezy positive fractured d.i.y homemade well-formed riot pop. It’s kind of Buzzcocks for twee and awkwardly shy wallflower boys and grrls who like things on Sarah Records and C-86 and tales of love gone wrong for people who don’t dance that well and like their punk rock with biscuits and sugared tea rather than special brew and violence. It’s heartfelt and they sound like their name – very simple, delicate, polite and sometimes folky in a handmade fanzine powered kind of way – Mr Poodle is a stand out – witty sociological punchy lyrics, poppy milky wimpy and those electric guitars could be acoustic in that way Billy Bragg guitars are…..
THE touching strum of folk opener Boxing Day Blues comes across like The White Stripes I Can Tell That We Are Gonna Be Friends.
Here's To The State Of Mr Poodle is sublime protest folk with standout lines like "He calls it meritocracy but wears an old school tie" and "Old men stand in judgment of teenagers in care / Despite the formers' ignorance of the latters' deep despair".
But if you're excitedly expecting a Billy Bragg style album, the lo-fi punk of tracks like Kickstart Affair and Pearshaped soon persuades otherwise.
Milky Wimpshake are twee indie kids with a big obsession with The Buzzcocks who've been on the North East scene since Futureheads and Maximo Park were too young to buy Viz.
There's plenty of three chord wonders rendered slightly wispy by the low-budget production, but nevertheless it's infinitely better than the woeful band name would suggest. (Manchester Online)
The world is getting ever more complicated and smaller at the same time - a negative correlation if ever I've seen one. The medium by which you are reading this review is one such edifice of this principle, and therefore a good thing, but sometimes it's refreshing to hear something simple and big. Take, for example, the album Popshaped by Milky Wimpshake.
When I first listened to the Ramones-esque sounds of Popshaped, I hated it. Where were the layered guitars, the quadruple-tracked vocals and digitised samples? Nowhere, that's where! As a fan of the pomp and technical wizadry of bands such as Muse I was most disgruntled - but as the album notched up more plays that feeling of discontent slowly faded. It wasn't until the fourth listen that the Milky Wimpshake sound finally clicked. The first five songs admittedly are the very average type of lo-fi punk to be heard in pubs everywhere - but from 'You're Shaken, I'm Stirred' onwards things pick up enough to pogo.
The band know their place in the musical terrain and play to their strengths, throwing in simple melodies and a few catchy riffs topped off with quirky, raise-of-the-eyebrow lyrics. In my opinion the best verse is on the accurately titled 'Spidey':
"My favourite hero remains the same, Spiderman is his catchy name. He had a girlfriend called Mary-Jane, and luck was rarely going his way. Hey Spiderman, hey Spiderman, how did you manage to survive so long, when all the super-villains were out to get you? How did you manage to stay so young and why did you always seem to have the flu".
Apologies firstly for the length of the quote and secondly because these probably aren't the most intelligent lyrics ever, but they do manage to sum up the entirety of the Spiderman story in 63 words, and I like comics.
The remaining lyrics are more reminiscent of Billy Bragg than Stan Lee, but don't let that put you off. The folk-punk-pop of Milky Wimpshake is a pleasurable thing indeed (even if there is only one song about a super-hero).
Vengono da Newcastle ed hanno già due dischi alle spalle e una lunga scia di consensi in patria. I Milky Wimp Shake sono la classica band indie-rock lo-fi inglese con qualche spunto pop-punk. “Popshaped” è il terzo album di questo trio britannico, e il sound continua a scorrere come in passato su quella falsa riga garage molto blanda che va molto di moda ultimamente. La passione per il punkrock comunque è nel sangue dato che la batterista ha cambiato il suo nome all’anagrafe in Ms. Joey Ramone.
Pete Dale il frontman sfodera una voce alquanto anonima accompagnata da quella di Cath Tyler nei brani “Pearshaped” e “Count to 3”. L’atmosfera che si respira è una sorta di omaggio ai grandi nomi dell’indie come i Pavement ma con le dovute distanze. Brani come “Sensibile shoes blues” e “Kickstar affair” animano qualche vago ricordo dei Libertines e del filone r’n’r, mentre “Boxing day blues (take 1) gioca con il folk acustico.
Diciotto brani gradevoli formano un disco che, senza troppe pretese, presenta uno stile orecchiabile sotto tanti punti di vista. Manca forse un po’ di verve nel modo di cantare ma le idee non mancano.
Voce indolente, chitarre impulsive, un'accanita ricerca della melodia. Dovessimo descrivere il C86 per formulette ne verrebbe fuori una cosa del genere, magari con l'aggiunta di ragazze bionde, fiori e fuzzbox. La ricetta non cambia mai, un suono di questo tipo è geneticamente incapace di invecchiare.
I Milky Wimpshake non sono dei novellini, ma il tempo su di loro non lascia tracce evidenti, nemmeno le rughe di amarezza dei Boyracer. Romantici e irruenti, colmi di quella amara ironia inglese che non possiamo fare a meno di amare, solidificano in diciotto brani l'essenza di una scena lontana, da sempre occupata a preservare la propria innocenza.
E intendo ogni essenza, dai Soup Dragons a Billy Bragg, dagli Housemartins ai Pooh Sticks, dai Frogs agli Undertones, ogni minimo refolo pop nelle mani dei MW si trasforma in canzone, preferibilmente irresistibile. Piccoli sketch di vita vissuta e di perduto romanticismo suonato con modestia tale da confinare con la spocchia, canzoni che non hanno nulla di geniale ma che sanno cogliere il cuore di ciò che rende grande l'indiepop.
"Popshaped" ritrova tutto. La sovrapposizione un po' confusa di sentimenti personali e politica, le priorità scombinate di una post-adolescenza inquieta, il cuore indossato sopra la camicia, l'affanno di quando tutto va storto e solo una canzone può rimetterti in sesto per i prossimi due minuti e mezzo. Ma soprattutto ritrova il sapore di quegli album che ti catturano con un paio di canzoncine, ti costringono a prestare attenzione ai testi e poi non se ne vanno più. E' una sintesi prodigiosa di due decadi di indiepop inglese.
Chitarre jangly ed arruffate alla Chesterfields ("Needed: Heart Handbook"), numeri di shambling pop sbilenco e semiacustico ("Spidey" celebra Stephen Pastel più che Peter Parker), torrenziali ballate che piacerebbero ai Ballboy (il medley Jonathan Richman + Daniel Johnston "True Love/Youth"), R&R ramonesiani ("My Heart Beats Faster Than Techno"), il fuzz compresso e la cassa piatta dei Flatmates ("Not Poetry"), una continua sensazione di deja vu che anziché infastidire rassicura, e non è cosa da poco.
Se poi vi servissero mini-anthems, ecco il flop and roll di "Kickstart Affair", dritto esercizio di romaticismo alla Buzzcocks e i riffs di "Milk Maid", in pratica Eddie Cochran a una John Peel session. Il testo ribellista di "Don't get Down" o la surreale tenerezza di "Pearshaped", cover a due voci di un pezzo dei Nev Clay esattamente a metà strada fra Boyracer e Pastels.
Tutto così perfetto da sembrare surreale, e da far apparire credibile persino un pezzo fuori contesto come l'omaggio a Phil Ochs di "Here's To The State Of Mr. Poodle", lucidissima satira alla politica sociale di Mr. Blair che non fa sconti a nessuno (The speeches of our leader are the ravings of a clown è la notizia che merita di essere cantata), mischiando pop&politics dagli anni 60 sino ad oggi.
Originalità? Zero. Ma che volete che importi, di fronte al miglior album di questo scorcio d'anno.
Uno, a dire indie, si immagina orde di fighetti adidas vestiti, dalle spilline elegantemente appuntate sulle giacche trendy e i capelli perfettamente new style. Va bene così, per carità, che anche da queste parti si è applaudito (negli anni) ai Kinks e ai Blur quali salvatori della Corona Inglese. Il fatto è che si tende a dimenticare come il termine (invero vasto e abusato) possa essere fatto risalire a tempi immemori, a musiche disparate e a gente quale Orange Juice, McCarthy, e via fino ai Television Personalities. Che sono stati la banda più sfigata e impudente di tutti i tempi, con quel Daniel Treacy ad insegnare l’abc all’altro Daniel (Johnston) e a tutti i Pavement del mondo, prima di essere assiso a vate di certo pop incompleto e surreale. Panegirico per dire che i Milky WimpShake si accodano a quella gloriosa e sfortunata tradizione, fatta di stonature, bavette da due accordi, imperizia e lentiggini; dove i brani da 2’30” suonano sconclusionati (Kickstart Affair), dove appena si ode una parvenza si hit si svicola altrove inorriditi o soltanto incapaci di coglierlo (Spidey), dove la melodia va e viene (Crepfoot), dove il pop al naufragio s’accompagna (Needed: Heart Handbook), dove si corre in aiuto di remake e cover version (Pearshaped, del misconosciuto Nev Clay), dove il blues si accoda ai Buzzcocks, dove Phil Ochs (qui omaggiato in Here’s To The State Of Mr. Poodle) è arruffato, dove la sfiga s’annida molesta. Ci sono persino odori di probabili minor hit, in 'Popshaped' (Cheque Card; My Heart Beats Faster Than Techno; Milk Maid), ma come sono venuti, indomabili se ne vanno subito. 'Popshaped' è bello e ve lo potrebbe dire anche Mollica, 'Poshaped' per qualcuno (molti) potrebbe essere il più bel disco dell’anno come l’inutilità più grossa del secolo. 'Popshaped' ha quella malagrazia contagiosa data soltanto dai veri beautiful losers. E allora solo tre stelle, ma solo per confondere ancor di più ed accodarmi a loro..
Melodías aceleradas, letras divertidas, actitud punk...¿hablamos de los Ramones? No, señores, son los Milky Wimpshake, aclamada banda por la escena faniznerosa británica, que en Popshpaed presentan , junto a nuevas canciones que repiten su efectiva fórmula pop/punk/folk, grabaciones perdidas, directos, caras b y hasta una versión del ínclito Jonathan Richman (“Don’t let our youth go to waste”). Popshaped es sin duda una buena oportunidad para descubrir los más de diez años de historia musical de Milky Wimpshake.
(El Efecto Oregano)
Tercer álbum de este grupo de Newcastle, en el que nos encontramos con 18 canciones pop de 2 minutos y medio de media, canciones de estrofa y estribillo, punk-pop con divertidas letras y melodías inmediatas, en la onda de grupos como THE BUZZCOCKS o THE UNDERTONES, con esos detalles políticos a lo BILLY BRAGG. También se les nota influencias de THE BEATLES y de los RAMONES. ‘Popshaped’ mezcla nuevas canciones con regrabaciones de viejos éxitos ya descatalogados, en forma de pildorazos de indie-pop en los que se le da gran importancia a las melodías sin descuidar los detalles o comentarios políticos a lo largo de todo el álbum. Instrumentación sencilla, riffs certeros de guitarra, y arreglos coloridos a base de órganos, pianos, panderetas, marimbas, etc... Incluyen 3 versiones aquí: “True love/Youth”, que es un medley entre “True love will find you in the end” de DANIEL JOHNSTON, y “Don’t let our youth go to waste”, de JONATHAN RICHMAN; “Pearshaped”, de NEVILLE CLAY, un artista local al que rinden tributo; y “Here’s to the state of mr. poodle”, de PHIL OCHS. Un disco con un montón de bonitas canciones de pop optimista y multicolor.
(El Planeta Amarillo)