Bullitt – So Many Ways CD

Bullitt  – So Many Ways CD

Life is full of small details that make every day worth getting out of bed, waiting for new surprises, valuing every smile you come across and maintaining a positive state of mind. Take the bull by the Homs. Of course if you live in Sant Feliu de Guíxols you have everything easier: it must be great to have the opportunity to live in our Chapel Hill, be a colleague of No More Lies, catch some bravas at the Corsari or take a walk along the promenade. Then go to the rehearsal room with your old friends and immerse yourself in the type of music that you have always loved to listen to and do.

Bullitt's music does not seek new ways of expression, only to find the most natural and honest way possible. His albums (three to date) give off a sincere and vibrant positive energy (Lucky, Live Unafraid, See The Light) that, however, does not hide that point of melancholy that comes with maturity. One is almost envious of these four guys: it's impossible to listen to their songs without feeling happy to be alive and kicking, and that - especially in these times - is saying a lot.

The Sant Feliu quartet retains the same hallmarks that made listening to their previous albums such a pleasant experience. Rock 'n roll impeccably executed and fraught with melodies indebted to the post-hardcore and emo that emerged in the mid-nineties that are part of the group's DNA. The honesty and freshness with which Bullitt is able to juggle these elements at this point in the film is truly amazing. Some songs stand out for their melodic component while others sound more rock (The Hellacopters, for example). As was the case with Love or die (2010), the group manages to make you forget that Jawbox, Aina or The Promise Ring once existed. To a solid rhythmic base and not without punch, a very accomplished guitar work and a superb vocal work by Xavier Calvet (related to the best Alkaline Trio or The Unfinished Sympathy), Bullitt add some surprising approaches to a more rock commercial (Foo Fighters or Gaslight Anthem) that makes them even more irresistible, certainly taking risks in the field of production arrangements (once again the master hand of Santi García is noticeable) with the inclusion of violins and keyboards.