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Archiviata l’ennesima reunion, i Verve sono tornati nel limbo. Puntuali come sempre – scorrendo a ritroso la loro carriera – le incomprensioni tra Richard Ashcroft e NickMcCabe sono (ri)emerse prepotentemente anche dopo Forth, l’ultima fatica licenziata dalla band di Wigan nel 2008: quattro dischi e tre separazioni a suggellare l’impossibile convivenza tra le due anime della band di Bittersweet Symphony. Rispetto al main project, New Shores, ultimo atto di un’avventura nata nel novembre 2008 (prima come Black Veils, nome cambiato dopo che l’omonima formazione americana ha reclamato la paternità della sigla) è un caleidoscopio di stili differenti, un campionario che spazia dal dark pop di Here so Rain – con l’ottima prova della cantante Amelia Trucker – al brit dei Verve (ricordate le Thaw Sessions, antipasto del loro testamento sonico, uscito qualche mese più tardi?) riproponendo e attualizzando la lezione di Bristol.

McCabe, assieme al bassista Simon Jones (anch’egli ex Verve) ha dato vita ad un supergruppo composto dall’italiano Davide Rossi (“tuttologo” polistrumentista e arrangiatore per Coldplay e Goldfrapp, tra gli altri) e dall’ex Portishead, Michele “Mig” Schillace. Deciso passo in avanti rispetto all’EP di debutto, Kurofune (uscito nel 2011), New Shores è stato prodotto tra Danimarca e Regno Unito, tra il 2012 e il 2013. A dispetto di curriculum vitae talmente diversi, l’esperimento funziona, un risultato mai scontato quando musicisti con esperienze così composite si trovano in studio. Per essere apprezzato appieno New Shores necessità di più ascolti, utili per andare oltre le impressioni iniziali – comunque positive – e considerarlo per quello che è: un bel compendio degli ultimi 20/30 anni di musica inglese.

I Black Submarine partono con il groove d’assalto post industrial della title track, e proseguono con gli Stone Roses, omaggiati negli arpeggi rarefatti di di Just a Second Away, scegliendo di spiazzare ancora tra percezioni umbratili e sfuggenti (Starling) e le suggestioni roots di Move Me a Mountain, in cui le chitarre acustiche costituiscono un corpo alieno rispetto al tenore complessivo del disco. A fare la differenza tra miliardi di pezzi chitarra e voce, la partitura d’archi “cinematica” di Schillace, cuore pulsante del progetto (Together) e trait-d’union tra gli slow dei primi Verve, con la chitarra spettrale di McCabe sullo sfondo a scandire i freddi battiti di questo disco.