The Windmills

reviewed by dave heaton
As blown away as I get by music that aims high, that tries to reach for some new level of existence (think free jazz, Sigur Ros, etc), there's something so comforting about a simple well-written song. And I don't mean "simple" in any derogatory sense; there's unexplainable magic that can happen when the right person picks up an instrument, writes a song, and plays it. As impressed as I am by innovation, I'm equally impressed when a straightforward song knocks my down by being touching, beguiling, pretty, insightful and so on.

The 11 songs on The Windmills' new album Now Is Then have all of those qualities and more. It's a completely unassuming albumat first it just glides right past you as a pleasant but conventional pop/rock album, but the more you listen the more you're completely absorbed by Roy Thirlwall and band's songs. It's the lyrics-these are love songs, essentially, but contain genuinely human feelings and images, a feat that shouldn't be underacknowledged-but also the hooks, the textures (and by "textures" here I mean not sweeping waves of sound or electronic beats, but the gorgeous sounds and feelings you can get from guitars when they're played a certain way), and the way the songs hang together with a certain feeling. It's a mood of hope and melancholy, lust and meditation-delivered as much through the way the words are sung or the notes are played as the content of the lyrics themselves.

Now Is Then improves on their fine, slightly more melancholy debut album Sunlight just by being betterthat sounds like an idiotic statement, I know, but the songs on Now Is Then just hit me in an even deeper way than on the previous album, yet it's hard to pinpoint what accounts for that besides the improvement that sometimes naturally comes with time. In any case, Now Is Then is a rich, deeply rewarding experience masquerading as just another pop album, from the opening come-on "Ever to Exist" (as in "you are the most delicate, beautiful, innocent human being ever to exist") through to the spellbinding closer "Time Machine."

http://www.popmatters.com/music/reviews/w/windmills-nowisthen.shtml

THE WINDMILLS
Now Is Then
(Matinee)
US release date: 3 November 2003
UK release date: 19 January 2004
by Jason MacNeil

The Windmills are a band who create flawless pop songs, or so they did on 2001's Sunlight. The group, consisting of singer Roy Thirlwall, guitarist Tony Pankhurst, bassist Dan Pankhurst, and drummer Rob Clarke, have returned with another album that still has all the greatness of previous records without repeating themselves too often. The fact that it was recorded over seven days, but over the course of nearly two years, might be cause for alarm. But not to worry, this is another gem. Recalling the finest days of bands such as the Go-Betweens and the little known group with Morrissey and Marr, "Ever to Exist" is a mid-tempo melancholic pop tune that glides along effortlessly à la a Cure ballad. "You are the most delicate innocent human being ever to exist", Thirlwall sings before the song evolves slightly. Sounding just a bit resigned, the Windmills are at the top of their game on this tune.

What is apparent is that the band shines from start to end, although some fans of British pop might find them a bit too sweet in the vein of Belle and Sebastian. "Beach Girls 1918" has enough "ba da bah"s and "do do do"s within to make some turn their ears away, but the Pulp-ish mood and Brit charm carry the song without fault. It moves a bit faster here but glistens courtesy of Clarke and Pankhurst (both of them). The sing-a-long refrains are repeated near the ending, but the guitars become grittier and a tad harder. It makes one wonder what the hell they are doing on a small indie label, no offence intended at Matinee. But the jangle-heavy pop seeps to the surface on the brilliant title track, toeing the line between New Order and the Smiths. Thirlwall gives just enough effort to make it work, but not much more, sounding rather monotonous in spots on the song. The tight guitar combination is another asset, with both playing off each other as the group rocks out for the first of a few instances. The movie Lost in Translation should've included this nugget!

Taking a bit of steam out of the proceedings is "Footprints", a sparser and far tamer tune that has a slower Blur or the Housemartins vibe. The group isn't taking a rest here, but the dichotomy between this song and its predecessor shows the range the Windmills have. The slow building "Walking around the World" closely resembles something from U2's The Joshua Tree sessions, with the gorgeous military-like drumbeat and the guitar just accentuating Thirlwall's vocals. The deliberateness they give the song makes it all the more anthem material. "All roads seem to lead to me / What a funny place to be", Thirlwall sings with a hint of irony in his voice and minus Bono's bombastic nature. He leaves that to the band, all hitting the ground running with the payoff coming at its monumental end. But the album ebbs back again with the Cure-ish "Your Fingers and Mine", a very good song that still pales somewhat compared to others on the near dozen-track record.

The second half of the record bristles with "Something Spring", a track that brings to mind "Sally Cinnamon" from the Stone Roses. Again the group is tight, but not enough to stifle any of the solos or musical highpoints. Possibly the only departure musically from the record is "Across the Playing Fields", with Thirlwall making high notes more often than not. The swaying and lush melody is excellent, although the slow dance tempo makes the arrangement flow. The bridge doesn't quite come off as spotless, but it's still able to keep you interested. The jam '70s ending leaves a bitter taste in one's mouth. "Amelia" is the first to divert from the pattern of fast-ditty-and-then-slow-ditty. Reeking of Nick Drake's lilt, the effort is pretty but seems stilted in some flowery areas. "Amelia, don't throw your reckless dreams away / You're going to need them one of these days", go the lyrics of this possibly one-take effort.

One last urgent kick at the can comes in "Summer Snow", a rather polished pop rock number that takes a while to get inured to. Harking back to Joy Division or early New Order, the tune than moves into a style that Modern English perfected at one time. It is also the winding song on the record, moving from light alternative rock to heavy guitars and back. "Time Machine" ends it on a good note, more anthem-like foundations bringing the song to fruition. Talking about mundane things like going to a supermarket, the Windmills are able to create one magnificent nugget after another. If you like British pop, or just outstanding yet meticulous pop in general, do yourself a favor!

- 30 January 2004

Third album, and the way that the windmills are moving is, as ever, controlled and gradual after the charmsoaked "sunlight" set from 2001. the last single, "walking around the world", was as you know a real breakthrough for the band and the label, and it showed the windmills making the most of their uncanny ability both to convert restrained guitars into smoky atmospherics and magick the disparate strands into powerful instrumental swells. Very marginally remixed here, "walking around the world" remains a testament to what they can achieve, but best of all it's in good company.

While the 'feel' of "now is then" remains inspired by the great, mellifluous guitar bands of the ages - like brisbane's go-betweens or glasgow's the orchids - many of the songs also remind us of the morrissey band around the times of "sunny" or "boxers" - unassuming but carefully tempered reminders of a great english tradition, atop which roy thirlwall's deep voice drips semicircles of detached irony. We thrill to the wondrous breakwaters of "beach girls 1918" ("the smell of white musk on her skin"), which syphons pale saints' "colours and shapes" into a kaleidoscope chorus, "ever to exist" which spins out adjectives of praise, across the softest backdrop of pastels guitars, and "something spring" that delightfully allows the lush tones of labelmates slipslide to commingle with prime orchids for a heartstoppingly sweet popsong.

On the other hand, there are a couple of indications of new progression that might even perplex the more conservative of the fanbase. one of these is "summer snow", a guest star on matinée's "autumn assortment" sampler, which finds thirlwall's writing visiting a darker place as he struggles to find expression and wrestles with "feelings filled with hatred" - musically, we are reminded of those vastly underrated mid-80s new order songs like "sunrise" and "broken promise", especially by the time the fantastic swirling guitar instrumentals arrive to offset the despairing sentiment. The other obvious departure is the peerless title track, a three minute guitar frisson that somehow combines the wedding present (the wedding present at their very best, mind) covering "soul inside" with brisk, shuffled drums and an enigmatic, impenetrable lyric that is determined to give nothing away. We would suggest it as a fabulous next single, were it not for the fact that releasing singles from albums remains of course morally wrong.

Then there are a number of softer confections - the jazzier "your fingers and mine", the wistful reverie "across the playing fields" and the dulcet "amelia", coralled from the previous ep - before everything winds down with the playful "time machine", a construct sufficiently simple and sardonic that it could almost have come from (thirlwall alterego) melodiegroup's recent "updownaround" album. And, though we don't often find ourselves making this kind of comment, it's not just the 3/4 of windmills yielding guitars who shine - rob clarke's cultivated drumming stands out throughout. the abounding lyrical contradictions - "when now is then, i'll still be here... today is yesterday, in disguise... i'm losing, even when i win" may be nothing more than a coincidence rather than any comment on the world's unforgivable indifference towards the windmills.

But if "now is then" as an album represents their acknowledgement that the ungrateful, as yet unconverted hordes scarcely deserve them, it will at least provide the devotees they've acquired along the way with eleven more reasons to be cheerful as the new winter arrives here in southeast england. --In Love With These Times

The Windmills' second full-length follows the same blueprint as their first: classic guitar-driven indie pop in the style of Lloyd Cole, the Weather Prophets, and the Go-Betweens. Now Is Then is just as strong in every department; the songs are rich and full of emotion, the guitars ring and strum like they should, and Roy Thirlwall's vocals are deep and poignant, falling firmly in the style of crooners like Robert Forster, Lawrence Hayward from Felt, and Nick Heyward.

The feeling of the record is very autumnal, just this side of gloomy. On tracks like "Walking Around the World," the sweetly pastoral "Amelia," and the subdued (and very Felt-like) "Your Fingers and Mine," Thirlwall sounds like he is walking through rainy Essex side streets with his collar turned up against the cold, singing to himself quietly. The mood lifts briefly on the album's uptempo tracks like the bouncy "Something Spring" and the hard-charging "Now Is Then," but even those tracks have less than cheery lyrics.

There is tragedy running through this album; anytime you drop lines like "Summer snow/Something cold/In my heart/Summer's slow/Suicide of my soul" (on "Summer Snow") you know you aren't dealing with happy chaps. So if you like your indie pop tear-stained and morbidly sad, Now Is Then is right up your alley, down your street, and on your front porch passing you a tissue. --All Music Guide

Recorded over seven days....but spread over two years. It'd be interested to see which tracks were recorded when, because this is most definitely an album of two halves. First we have the more traditional Windmills sound of 'Ever to Exist' and 'Beach Girls', which, by the way, are two of the most gloriously soppy songs you'll ever hear. And then there's the more rocky stuff, like 'Now is Then' and the brilliantly relentless 'Summer Snow'. And I can't make up my mind which is the old stuff and which is the new. And is possibly doesn't work like that anyway, because even older material like the sublime 'Walking Around the World' rocks out, albeit in a very gentle way. And so I'll comfort myself with the fact that this is another very good Windmills album. It's probably not as immediate as some of their earlier work, but you still get Roy Thirlwall's cuddly yet gloomy persona and all the minor chords you could wish for. And, to be honest, what else do you really want? --Tasty

The Windmills, Walking Around the World EP (Matinee Recordings)
The Windmills' latest effort, Walking Around the World EP, is more akin to a single than a full-fledged EP. But when the title track is as good as this, it's worth paying EP prices. "Walking Around the World" is as close to The Bends-era Radiohead as the world is going to get these days (not a complaint, but an out-and-out fact). The song begins with Roy Thirlwall's dulcet voice mixing with his equally as sweet chiming guitar floating over a brisk beat, and builds to an explosive climax during the chorus that recalls "(nice dream)" in the best possible way. Swirling guitars, bass, and drums create an arena-sized rush not seen since the mid-'90s days of Thom Yorke and co., and Anglophiles everywhere will cherish the chance to relive those halcyon days. The remaining two songs on Walking Around The World are high quality as well, but don't reach the same peaks. "What Was It For?" is a Smiths-y delight, while "Amelia" shows off the quiet side of the Windmills and exudes a White Album Beatles aura (think "Julia"). All in all, a delightful way to spend 11 minutes.
- Tim Alves

http://www.popmatters.com/shorttakes/index.shtml

Unfortunately, it seems that even under the best circumstances EPs are rarely worthwhile. Therefore, the amount and quality of territory covered by the Windmills on 2002's Walking Around the World EP is staggering, and that it is done with such grace and confidence should make listeners eager to hear what these British lads will accomplish with their next LP.

The Windmills' songs aren't grandiose arena epics, and thankfully so, as it is the group's down to earth sensibility that makes them so easy to embrace so quickly. The players are confident and have great chemistry, but they don't try to dazzle the audience with flash, gimmicks or aural acrobatics, rather they charm the listener slowly and sweetly with effortless hooks and honesty. Traces of outfits like the Housemartins, Go-Betweens, Lucksmiths and Green Pajamas are present throughout, making the Windmills a strong candidate to go over well with fans of those artists.

Right out of the gate with "What Was It For?" the Windmills show their strength in crafting songs that balance hope and sadness. The music keeps the spirit bright, jangly and free, providing the perfect yin to frontman Roy Thrilwall's somber yang. The result is a record that comes across feeling optimistic almost in spite of itself. Heartbroken, but not hopeless, it is an endearing notion.

The album's quietest moment, "Amelia" is an acoustic ballad driven by Thirlwall's weary, almost shy vocals and matching lyrics that convey their emotion without slipping into the overwhelmingly morose vocal territory of other Brit-mope acts like Gene or the Smiths (though a few instrumental cues taken from Johnny Marr are played quite well).

Album closer "Walking Around the World" is the clear standout, with its verses propelled by muted guitars and a nearly militaristic drum roll, leading into blossoming choruses of rollicking guitars and Thirlwall's thoughtful baritone and soft-spoken refrain "what a funny place to be/walking around the world." As with the rest of the album, Thirlwall's easygoing style makes you feel less like he's singing to you, and more like you're getting a glimpse at his truest feelings by overhearing poetic snippets of his inner dialogue. Karen E. Graves

http://www.allmusic.com/cg/amg.dll?p=amg&uid=10:06:22|AM&sql=Ayqjp7io3g71r

Nearing my intended destination, I woke up from the haze that enveloped me a
bit earlier courtesy of Stella Luna and quickly inserted The Windmills'
Walking Around The World, another wonderful Matinée release. Perusing the
press release, I learned that this is the new single from the group hailing
from jolly olde Eng-Ger-Land, just a bit into the south if you want to be
pedantic.

Being quite a stranger to The Windmill+s previous work, I was at a loss at
what to expect. But as the first track (What Was It For?) unfurled its
glorious declarations and gorgeous sparkle, I now agree with the press notes
that it indeed has moments of The House Of Love. Roy Thirlwall+s voice is
lovely and definitely has that English charm, precious tonality and depth of
character. The guitars are almost shambling in a theoretically gorgeous kind
of manner.

Amelia (the second song) is a slow and pretty song that is levitated all the
more by lovely snips of guitar punctuation marks, commas and exclamation
points. As a result, it ebbs and flows smoothly with the draft. The title
track took me back to memories of classic indiepop groups like the East
Village and the like with minor chord changes effortlessly done as the snare
drums keep on pounding and keeping time all throughout up until the
overwhelming chiming climax. The Windmills play melodies that jump from rock
to rock-like the nimble creatures that they are. Like lovely fireflies
frolicking, their music can illuminate the lovely night sky as much as they
can hug my soul.

Listening to this and being inside a bus, I felt that I have indeed traveled
around the world.

The bus made its way inside the terminal. As I began to stand up, clutching
my bag beside me, I had an overwhelming feeling the same - as what you get
when you have traversed a great distance. The sense of place both at home
and away is uncanny. I relished the last moments of a journey accompanied by
me, myself and the various incarnations of my demeanor, aspirations and
dreams... a journey of spanning width inside the confines of my mind. As I
enjoyed the simple pleasure of stretching my legs, I said softly that the
day has just begun.

http://www.pinoycentral.com/new_pc/music/inside_music102902.shtml

THE WINDMILLS
Sunlight
(Matinee Recordings)
by Jason MacNeil
PopMatters Music Critic

The Windmills are one of a plethora of British pop bands who have the melodies and harmonies needed to break into the spotlight, but for either time or circumstances, churn out great songs to a miniscule yet devoted audience. With one album under its belt with 2000's Edge of August, the band are back with another melodic series of highbrow pop gems that could be compared to Echo & The Bunnymen as well as early Pulp or the undervalued (except in South Korea) Rialto. Beginning with a gorgeous mid-tempo alternative guitar rock arrangement in "Unkiss", lead singer and guitarist Roy Thirlwall has a lot in common with Pulp's Jarvis Cocker in terms of his tone and delivery.

"Pounds, Shillings and Pence" is another strong tune that falls in between the Cure and the Smiths, if that's possible. Guitars here resemble the cool and collected approach Johnny Marr made so fashionable while the rhythm guitars have that distinct Cure sound. The tune winds quite easily through its three minutes and change. "Taxi Fare" is probably the album's first of many shining moments, a deliberately paced ballad that describes British urban life. Picking up the tempo when the harmonica kicks in, the song moves to and fro between styles at a lovely leisurely rhythm. If there is a downside to the song, it's perhaps because it tends to be far too tight, not allowing for the groove to continue an extra minute or two.

A lot of British groups rely on simply being British and dropping the lilt into shoddy lyrics just for style or brownie points. But the Windmills don't opt for that cliché, especially on "When It Was Winter". Sounding more like Morrissey here than at any other point on the record, Thirlwall reflects on the past and love gone astray. "I don't care anymore, I don't care anymore", he sings just slightly above a rich sonic landscape. The brevity of the songs, though, brings to mind current Brit pop darlings Belle and Sebastian. Probably the nadir of the album is "She's So Hard", average attempts both musically and lyrically. "Get me out of here," Thirlwall says, perhaps showing a deeper meaning for the listener. Although it doesn't drag, the song shouts unoriginal.

Side two begins with a rousing and rollicking "Boxing Glove", with drummer Pete Spicer coming to the forefront. The use of horns and a rather funky bass line propels it along, making it quite comparable to Pulp's His N' Hers album. The Go Betweens are another group that comes to mind when listening to "Cloud Five", a downbeat affair with piano and tension that builds before disappearing. The wording of the '80s synth flavored "Be Groovy Or Leave" is a bit difficult at times, but the song has a lush flow and fluidity to it. The echo effects also give it a nice texture. "Untouch" is basically a musical reprise of "Unkiss" with an identical tempo and arrangement and barely audible harmonies.

The Windmills will never be accused of rejecting a good musical idea simply because of its time period or hipness. "Drug Autumn" reverts back to gorgeous if bleak guitar chords over some brief keyboard punctuation. "What I gave up was far more precious than what I gained / But by then it was already too late," Thirlwall sings with as much Robert Smith reflection and disappointment as possible. The Windmills have created a real corker of an album, one that probably will sink commercially. Perfect for those who, to quote a line from the last track enjoy "listening to Lou Reed records and never going out". If only pop bands honed their craft this well.

- 24 October 2002

http://www.popmatters.com/music/reviews/w/windmills-sunlight.shtml

The Windmills - Walking Around the World ep (Matinee)
Practically every review of the Windmills' last album, Sunlight, contained
the word "jangly", so I won't say it, but you get the idea. (Isn't it nice
when all the critics agree?) Walking Around the World isn't instantly
appealing, but with simple melodies and even simpler choruses, the trio of
songs and musicians grow on you until you hear the songs being hummed and
realize it's coming for your own mouth. The Windmills have a distinctly
English feel. They deliver no-need-for-distortion guitars, drums that march
alongside the listener, and lead singer Roy Thirlwall's baritone, which is
so subdued (a la Jarvis Cocker) that you can almost see the words falling
from his mouth. Despite the deadpan delivery, you can hear the optimism
coming through in the EP's title track, an upbeat number destined to be the
coda to dozens of mix tapes. "Amelia" is reminiscent of Bedhead's faster
moments minus the blistering climaxes, and will lull you into a happy
oblivion; no peaks, no valleys. If this is a taste of what's to come from
these boys from Essex, we'll be waiting with bated breath. -- Patrick
Dougherty

http://www.splendidezine.com/review.html?reviewid=3242218934575057

The Windmills | "Walking Around the World EP" | Matinée | | 2002
La humildad es uno de los calificativos que peor se ha sabido administrar y
adjetivar en la historia de la crítica musical. Por ello, las bandas poco
pretenciosas han sido un poco como los vasos mediados de agua: hay quien los
ha querido ver medio llenos y hay quien ha preferido ponerlos a parir por
estar medio vacíos. A los grupos de Sarah Records, por ejemplo, casi siempre
se les consideró 'encatadoramente humildes', y en cambio formaciones como
Wire fueron fusiladas sin un ápice de piedad cuando abandonaron el
vanguardismo en favor de enfoques musicales más convencionales. Resumiendo:
sálvese quien pueda. Por todo esto, no quiero enarbolar mi crítica
favorable sobre el último EP de los ingleses Windmills entorno a la humildad
que destilan los tres temas que lo conforman. Sí, de acuerdo, estos chicos
no escriben canciones ni para llenar estadios ni para sonar de fondo en los
sueños húmedos de la progresía de las grandes ciudades, pero no es por eso
que sus temas resultan tan agradables al oído... ¿Será quizás por la
rotundidad de sus melodías, que claman POP por todos sus poros? ¿Será por la
multitud de situaciones estúpidas y prototípicas hasta la náusea en las que
me veo envuelto mientras escucho sus temas (yo mirando por la ventana, yo
paseando en bicicleta... en definitiva, yo haciendo de popero de la muerte)?
Será que las personas, al fin y al cabo, somos fundamentalmente simples, y
como tales necesitamos continuamente accesorios simples con los que
ornamentar la simpleza de nuestras vidas... Sea como sea y sea lo que sea,
siete sobre diez.
http://www.popchild.com/viewArt.php?id_articulo=598&id_tipo=1

....translated thanks to Elli......

Humility is one of the most underused and misused epithets in the history of
music criticism. As a result, unpretentious bands have had something of the
quality of glasses half-filled with water: some like to see them as
half-full, and some like to slag them off for being half-empty. The bands on
Sarah Records' roster, for example, are almost always seen as "charmingly
humble", while outfits like Wire were gunned down in cold blood when they
swapped the avant-garde for a more conventional musical style. Basically,
sauve qui peut.
That said, I'm not going to base my favourable review of the English band
The Windmills' latest EP round the humility which oozes from each of its
three songs. OK, it's true that these boys don't write songs to fill
stadiums nor to rumble through the wet dreams of the urban glitterati, but
that's not why their tunes are so easy on the ear. Could it be the rounded
melodies, which scream POP from every pore? Could it be the many and
unbelievably corny scenes my mind acts out while I listen (me, looking out
of the window; me, riding a bicycle; me, in fact, doing the pop idol thing
to death)? It could be that we mortals, when you get down to it, are
fundamentally simple creatures, who need simple accessories with which to
deck out our simple lives. Whatever.

http://tasty_zine.tripod.com/singles.html

The Windmills - Walking Around the World ep (Matinee)

For sheer melancholic pop, it's hard to beat The Windmills at the moment. Whereas the fucking D4 are probably still squashing their spots on a daily basis, these four tykes from Southend-on-Sea have been through the wringer. And thank god for that old washing implement, because, otherwise, they wouldn't be able to make songs so heartbreakingly gorgeous as 'What Was it For?', with Roy Thirwall crooning, 'I've tried a thousand times, I'll try a thousand more...what was it for?'....Over at track 2 'Amelia' is a soft slow shoe shuffle of a song, with Thirwell warning against false hope over Marr-esque guitar pickings...whilst third track, 'Walking Around the World' fades in before bristling with trademark Windmills jangling guitars. There's so much space in these songs, so much to travel through, so much to find out, that resistance is utterly futile. The fact that The Windmills can stick 'Walking Round the World' in as a third track shows just how many fantastic songs this band has. In a time when others seem to replicate half a decent song over and over again, crush The Windmills to your heaving chest, they deserve to be smothered.

http://www.tangents.co.uk/blog/2002_08_18_archive.html
More specifically, wishing I was able to be in London next weekend (August 24th) for what promises to be a great afternoon and evening's entertainment at the Notting Hill Arts Centre courtesy of Matinee/Fortuna Pop recording artistes The Windmills, Would-Be-Goods, Pipas and Lovejoy. With DJing exploits from Tim Hopkins and Pam Berry into the bargain, it promises to be well worth attending if you can make it. And did I ever tell you all how wonderful that last Windmills single was? I didn't? Oh gee, I really meant to so, um, to put matters right right now, um, the Windmills 'Walking Around the World' EP was/is another delight with three more tracks of minor chord genius alternately flitting and frolicking across the landscape like a waltzing tormented ghost looking for love in a hall of mirrors, or in the stars of a desert night sky, at the very least. Much as one would expect really.

The Windmills - Walking Around the World EP (Matinee)
There's a million ways to say "I love you," and at least as many ways to
express regret. The Windmills do the latter beautifully in "What Was It
For?," a melancholy pop-rocker about miscommunication, one of three songs on
the Walking Around the World EP. "I tried a thousand times, then a thousand
more/What was it for?," sings lead vocalist Roy Thirlwall. "Amelia" is an
even prettier ballad, with Thirlwall singing so delicately he sounds
downright sheepish, as he encourages the title girl to keep dreaming and not
give up hope on life. The closing title track sets up a melodic stroll and
then takes off on a guitar flight, begging listeners to hit play again, like
the best singles always do.--(Dave Heaton, Erasing Clouds)
http://www.erasingclouds.com/27july.html

http://www.pennyblackmusic.com/cgi-local/rbbandsearchtitle.pl/SID=203586536/?page=1&searchq=61001

The Windmills are back with a brand new single. I've little doubt that many Pennyblackmusic readers have already heard about this band since they are one of the most consistently great bands on the consistently great Matinee label. I'm happy to report that the band who made the brilliant 'Sunlight' LP last year are still on top form, with three more tracks to add to their songbook which is already bulging with classy compositions. The Windmills' name suggests a C86 jingle jangle band, which isn't surprising since they formed in 1986 (for a history of the band check out an interview in our archives pages!) but the band's music is far more developed than the lo-fi understated style typical of the genre.

All three songs were written by different members of the group but share similar characteristics, namely fully developed tunes with succinct lyrics which are played by a band that appear increasingly confident of their abilities. Their drummer Rob
Clarke is a revelation, playing in a manner that never sounds like he is showing off but which equally demonstrates an extraordinary talent. He is equally adept at dealing with the up-tempo 'What Was It For?' as he is with the gentle ballad 'Amelia'. A further advantage to this release is a bonus video track (something I expect to find on the new Oasis single but not on one by a small indie band !) which gives a rare opportunity to see the Windmills playing live, shot at a show in Notting Hill last October. A great band continues to grow on this release. Superb!

http://www.indiepages.com/reviews/index.html

Windmills - "Walking Around The World" cdep (Matinée)
Brand new three-track cd single from one of the most prolific bands ever to have disappeared for a decade (you already know the story by now...). The first track ("What Was It For?") starts off the cd on an upbeat note, and has the band sounding their clearest yet. The next track, "Amelia", shows their gentler side. They even sound a bit like the Lucksmiths or Mabels, possibly from the combination of Roy's accent, and the lightly brushed drums. The final track, "Walking Around The World", is a longer track that builds up as it goes on - and it's a bit of an epic, at almost exactly five minutes. Kinda reminds me of the Go-Betweens (there's that Australian comparison again...). Also included on the disc is a video for "What Was It For?", which is a pseudo-live performance - meaning it's scattered footage of them playing live with the recorded version of the song playing over. Hey, it's pobably the closest I'll ever come to seeing the Windmills, so I'm not complaining! MTQ=3/3

from 'In love with these times...'

the windmills "walking around the world" ep (matinée)

imagine it - an early promenade in south east england, the mists seamlessly
rising over the sludge of the shoeburyness shoreline, the first trace of a
timid sun on the horizon. md player at the ready, you press "play" in search
of the perfect soundtrack, and as your muddy trainers strike out on the
pavement, roy thirlwall begins to croon into your ears - "i walk a line / of
my own design"... "walking around the world" is the title, and closing
track on the new ep from the southenders, and it's ample demonstration, as
if more were required, that progression need not be dramatic, or sudden, or
seismic: instead, like the great evolvers hood, it's the refinement of the
traits and talents that a band have already hinted at, a constant
reassessment of musical goals. after those opening lines, a statement of
independence, the song unfolds precisely, with taut guitars and drums at the
culmination of each verse skilfully counterpointing the eloquent, minimalist
lyrics - as songs from their second album "sunlight" showed, it's all in the
delivery, and mr. thirlwall has craft and panache enough to get away with
knowing lines like "all the roads seem to lead to me... what a funny place
to be". by the end, the guitar sound is the sort of timeless, imperial
spiral that ties you in little knots, and yes, there is something of the
house of love's first album in the clarity and intensity wrung from such
simple words and song structures while rob clarke's brisk drumming pilots
the music through the wash. the proof that these manifold ingredients gel is
that despite being five minutes long, it all seems over too quickly... of
course, the first song of the three, "what was it for ?" ain't half bad
either - east village with a spring in their step - and it's already been
scientifically proven that you can hardly go wrong with any lyric of "i
tried a thousand times..." the ep is completed by "amelia", a rare
composition of bassist dan pankhurst that treads its way via two recurring
notes towards some of pop's more leafy glades, in the tradition of those
percussively-weighted weather prophets ballads like "sleep" and "frankie
lymon". but as the sun finally peeps up beyond the breakwaters and we spin
the cd again, just enough time to tell you that the package is also
accompanied by a video cut of "what was it for ?", which along with the more
fire crew and mark b and blade edits, is a favourite spot of office viewing
on the PC right now. god bless technology. (ILWTT)

from Shredding Paper magazine #13

The Windmills Sunlight CD (Matinée)

The Windmills have the charm of The Housemartins and the wit of The Divine
Comedy. The songs on the consistently engaging "Sunlight" drape Roy
Thirlwall,s melancholy moan over jangling guitars, crafting impeccable
melodies and irresistible choruses. What is so remarkable is that the songs
succeed despite their simple construction. Consisting of little more then
jangling guitars and simple rhythms, The Windmills use singability as their
trump card. The songs are not gigantic and commanding, but they are
infectious nonetheless. They are the classic Britpop band, sad-sack lyrics
and vocals combined with strummy guitars. An outstanding effort, on par
with recent Cinerama. (J. Edward, Shredding Paper #13)

The Windmills, Sunlight (Matinee)
"I don't want to hurt you, I don't want to make you sad/I just want to hurt you/I just want to make you sad," sings Roy Thirlwall during "Cloud Five," a song on the UK quartet The Windmills' second album Sunlight. Beauty and sadness are at the heart of their songs, which are melodic pop songs that articulate the complexity of human relations. Their lyrics capture that in poetic ways; take this line (from the first track "Unkiss"), for example: "I feel as though the sky is falling on my head/I don't know, perhaps it's something that you said." The people in the Windmills' songs are constantly reaching out to each other and cutting each other off. Their songs portray the ways feelings change, the way people inevitably sting each other if they mean to or not, but also hint towards moments of connection, understanding and hope. It's a truism that the saddest music is usually the prettiest, and Sunlight is another example--these songs are gorgeous. Yet they're not sad for the sake of being so; they're real, showing people for the lovable messes that they are.

--dave heaton

http://www.erasingclouds.com/26ap.html#24

http://www.cancioneshuerfanas.com/windmills%20sunlight.htm

The Windmills:"Sunlight" (Matinée recordings, 2001)
En otoño todavía hay rayos de sol que te invitan a pasear por la playa en la
que pasaste esos días de verano con ella. Una sensación agradable y
melancólica que te sacude y te aturde un poco. Los Windmills saben de lo que
hablo y nos lo demuestran con este "Sunlight". Un disco de guitarras pop
clásicas , que recopila canciones que ya han
salido en single antes como "Pounds, Shillings And Pence", "Drug autumn" y
"Unkiss", la canción que abre de manera excepcional el disco y que ya
grabaron antes en una versión más larga para el cd recopilatorio de Matinée
de la primavera del 2001. Incluyen también una versión de East Village,
"When it was winter", grabada para el tributo a este mitico grupo, del cual
los Windmills son herederos en su estilo. Si a esto le añades un toque de
los Smiths por aquí y otro de los grupos del sello Sarah por allá obtendrás
la fórmula que los Windmills utilizan para expresar sus emociones en envase
de lluvia y luz solar. Un disco sin tonos épicos, que habla de sentimientos
intimos de una manera natural y sencilla, gracias a la voz de su cantante y
las guitarras brillantes que añaden luz solar a tanta melancolia.
Guillermo Arias

.....Translated thanks to Planxty.....

In autumn there are still rays of sun that invite you to walk along the beach, where you walked in summer with her. A pleasant feeling of melancholy runs through you and bewilders you a little. The Windmills know what I mean and show it here in "Sunlight". A classic guitar pop record, gathering together songs that had previously been released as singles, such as "Pounds, Shillings And Pence", "Drug Autumn" and"Unkiss", the song that opens the record so brilliantly, and of which they recorded a longer versionfor Matinée's spring collection. The record also includes "When it was winter", a tribute to the legendary East Village, whose style the Windmills have inherited. Throw in a pinch of the Smiths and a dash of the groups on the Sarah label and you will get the formula used by the Windmills to express their feelings packed in rain and sunlight. There is nothing epic about this record, intimate feelings are expressed simply and naturally, thanks to the singer's voice and the brilliant guitars which add a touch of sunlight to so much melancholy.

http://www.geocities.com/tryhappiness

the windmills "sunlight" (matinee)

the windmills are from southend. that might not mean that much to you (as
the groove farm once sang) but trust me (as the flatmates sang), as a kid i
used to go and visit the relatives there all the time, freeze on the pier
(when it was the world's longest and all that), paddle in the sludge, dodge
jellyfish on the beach, and when i got a bit older we'd drive out there and
fail to get into any pubs (in retrospect, probably just as well as we would
have got pulped). and when i'm 60 i'm going to retire there, with my beer on
the sideboard, knocking out chas n' dave classics on the old joanna. fact.

"you're secret, first of all, and secondly, you're beautiful" - unkiss

southend is therefore one of the last places - much as i love it - that you
expect witty, wry, cultured indie-pop songs to be born. so three cheers for
the windmills then. "sunlight" is an album of intelligent, breathy
half-jangle which in any tolerable universe would be gleefully outstaying
its welcome in the top 5 album charts. in our own, however, it just shrugs
knowingly and gets on with the job, a bit like the ice cream vans that have
to traipse up and down the front at southend for the 10 months of the year
that it's winter in essex. it's a shame that half the songs are not new;
versions of the respectful east village tribute "when it was winter", the
previous single "drug autumn" (and its flip "pounds, shillings and pence")
we have all heard before - while the decidedly great "unkisss" featured on
"the wedding cd compilation" (and "untouch" is merely, grrr, a "reprise" of
the same song - an abominable tactic, sirs). this does however enable us to
turn our attention to some of the unheard numbers, as they are undoubtedly
wonderful (nearly as much so as southend united and that legendary "roots
hall roar". ahem).

"boxing glove" is a remarkable hymn, subverting the traditional pop twang a
la the field mice's "coach station reunion" and pivoting on a lovely change
of pace when old drummer rob clarke, assisted by some fieldmicey bass, just
ups the tempo into each verse. its lyrics follow an ill-disguised theme on
this album of submitting to a female protagonist's (I hope) metaphorical
punches. "cloud five" on the other hand, is lighter and airier, an
unprepossessing 2 1/2 minutes of trad-indie cirrocumulus. while the fabulous
"taxi fare" kicks off with a perfect, tremulous guitar line before roy
thirlwall's deep soothing tones are belatedly coaxed out to marshal things -
in such mellifluous company, even the harmonica that seeps in towards the
end is forgivable. "be groovy or leave" (how many times have we heard that
sentiment....) is also a fine song, again relying on subtlety and
understatement to just hit home that bit harder: it also acts as the perfect
showcase for the guy's resigned, sardonic intonation as he repeats the title
in amongst the closing bars. the other previously unheard number is "she's
so hard", a mildly sugary concoction the chorus to which ("[her] bare fists
punching") unfortunately grates rather. and for those of you (to be fair,
the entire population of the world, minus a pressing of 1,000) who hadn't
heard it before, "unkiss" is another song that envelops you in its warmth,
with the drums and bass combining in the chorus in a way reminiscent of the
brilliant corners' "anticipation". As such, it does make a great lead track.

peace out to the windmills, then: evidence that southend is more than just
the place at the end of billy bragg's "A13". they'll succeed without our
patronage, but at least we can
say we were there.

from Tasty Zine #14

The Windmills Sunlight (Matinée)

Whilst Sportique bring to mind the snottiest art-rockers of the 80s, The
Windmills are altogether a different kettle of rice. What we have here is
textbook sensitive guitar pop from a five-piece seemingly hell-bent on
mixing decidedly Morrisey-esque vocals with a classic Sarah-era soundtrack.
All of that makes Sunlight, a very special album indeed. Tracks seem to
glide by here, without really breaking sweat by trying too hard. It,s
classic melancholy, and has a definite sense of Sunday Morning, to it
just like all the best records. My only criticism is that I,d have liked to
have heard a bigger production, or at least the odd screeching guitar
amongst the impeccable strumming. But what the hell do I know? And how can
you slag an album that has such an excellent cartoon on the inner sleeve?
(Tasty #14)

http://www.indiepages.com/reviews.html

The Windmills - "Sunlight" cd (Matinée)
This is probably my favorite batch of Windmills songs yet. Not that their
previous records weren't satisfying in any way, but this record is just that
much better. The band sounds much tighter, and I don't know, I just like the
whole thing more. A few of the songs have been released already, like the
A-sides to the last couple singles ("When It Was Winter" & "Drug Autumn"),
as well as "Pounds, Shillings And Pence" and the excellent lead-off track,
"Unkiss", which appears here in a shorter version than was heard on the
Matinée Spring Collection cd earlier this year. But there are still six
other songs that are just as vital as those, like "Cloud Five", "She's So
Hard" and "Taxi Fare" for example. With just the right mix of jangly pop and
melancholy, this is just one of those classic bands that can't really do
much wrong...

http://www.tangents.co.uk/tangents/main/2001/dec/matinee.html

There would be enough evidence from the Melodie Group recordings alone to suggest that Roy Thirlwall is one of the great unsung songwriters of the current age, but thankfully there's even more proof in the recordings of The Windmills. In The Windmills Thirlwall joins forces with Dan and Tony Pankhurst, Pete Spicer and Rob Clarke, and in doing so produces some of the finest, most upliftingly down-beat Pop since, well, I have to say it again, since East Village ripped hearts apart with their awesome beat noise back in the late '80s and early '90s. There's clearly some kind of homage being paid to East Village in the sound of The Windmills, but that might be just my thoughts running away with me, and really unfair anyway because the Windmills themselves actually formed initially in 1984 themselves, so maybe it's truer to say that East Village sounded like The Windmills, but there you go. It's probably also true to say that Windmills are still (rightly and thankfully) in thrall of groups like prime Go-Betweens, or The Loft when they were well oiled and lubricating the Living Room, or Hurrah! at their absolute magnificent peak, or Hellfire Sermons at their most roped in and melodic best, which is to say the best of all you can imagine. Windmills are taught and tense, languorous and cooler than cool all at once, which is no mean feat. After their reformation in 1999 they laid the groundwork on the excellent Edge Of August album and have now delivered another real beauty of a record in the new Sunlight collection. There are so many minor Pop classics on Sunlight it's simply criminal that they aren't airing full time on MTV instead of shit like the godawful Starsailor. There's only so much weary talk of 'authenticity' you can take when it comes to Pop, after all, and if the likes of Starsailor go to such great lengths to convince us of their 'worthiness' and 'sensitivity', then you just know they've got to be faking it; turning on the manufactured 'sadness' for the plastic tears of the massed ranks of 'tortured' students, so sad because the girl they fancy from their Chemistry class likes Destiny's Child instead of the Stereophonics. The Windmills, on the other hand, simply go their own way, by-passing the usual 'references' and short-circuiting notions of 'authenticity' by being only natural, by dipping and rising in the manner of the long-distance runner in the mists by the canal every December morning. And naturally The Windmills make sounds for the Autumnal and Winter months, dropping notes that remind of summer and its hazy smiles in the most elliptical of manners. Previous singles 'Drug Autumn' and 'When It Was Winter' are simply gorgeous moments; perfect Pop events frozen in time by the finest of sculptors hands. 'When it was Winter' especially is something to behold, being all magnificent fuzzy chords and crystalline notes bending into the heavens like the Northern Lights just visible in the sky over the tops of the shipyard cranes; a bunch of ragged-hearted Beat outsiders singing a hymn to the moment held in time, guitars clutched high and tight and proud.

The snow is all gone, and I love The Windmills with all of my heart.

>From Tangents e-zine: http://www.tangents.co.uk/

The Windmills - When It Was Winter ep

Also on Matinee, the new EP from The Windmills shows more than ever that
here is a band who have been listening closely to their East Village
records. Which is to be applauded of course. And which in fact is to do
The Windmills a disservice because the four tracks on their 'When It Was
Winter' EP fuse a fine penchant for minor chords (okay, I THINK it is
minor chords; I know nothing about music, but I think that's what a I mean. I
the ones that go shimmying up and down your spine like a dark bruise)... and a
tension that might be akin to that felt by the great Last Party,
or Hellfire Sermons even, at their most melodic and least abrasive

The Windmills / When It Was Winter / Matinée (CD)

from Splendid E-zine, September 24, 2001, reviewer: Jason Jackowiak

http://www.splendidezine.com/reviews/sep-24-01/aag.html#aag28

For this British quartet's second single, singer Roy Thirlwall wraps his brassy croon around four deliciously shimmering slices of pure pop. He proves he's got Morriseys laid-back delivery down pat on the bouncy "Snow White", while "Pounds Shillings & Pence" revels in the same< understated glory that marked Felt's finer moments. When It Was Winter with its decidedly British demeanor and propensity for jangly, minor key musings should curry the group some favor with the more adventurous faction of the anglophile crowd.

From The Bee's Knees
Sunlight
At times Windmills bring to mind the best moments of British pop from the sounds of "seven" era James, "Get The Message" single era Electronic and a less phased out Kitchens of Distinction. Hell, the sleeve makes me think of New Oreder technique. The first listen everything was so familiar that it made me think I was back in tenth grade listening to all my british faves. When everyone else ditched dream pop for britpop it was a bit sad, but I am glad the windmills are keeing the sound alive. Mike Turner

From Dagger
Edge of August
Embarassingly, I'd never even heard of this bunch 'til Jimmy released the single last year or so but i guess they've been trudging around England for the better part of a decade (i think some of their stuff dates back to the 80's?). Roy Thirlwall has got the voice of a guy whose seen many, many crusty pubs in his life and came out smiling out of each one. His pals (Tony Dan and Pete) lay down a nearly perfect jangly groove that brings to mind some of hte best Go-Betweens material. Especially on a tune like "GoodNewsBadNews" About the only bad thing I can say about this is that I wish they would've left off the 2 songs on the single and put 2 other songs. Still, a pretty minor complaint.

Drug Autumn EP
Jimmy Tassos just continues to crank great records on his Matinee label (as if i don't kiss that guy's ass enough...) and here's another one. Brit band led by the elusive Roy Thirlwall and here's 4 tunes that are very much in the Go Betweens vein. One of these tunes was from their fine edge of august LP. You need to own everything on the matinee label.

The Windmills: Three Sixty Degrees
No such experiment clutters Matinée 11, a pair of spiraling pop songs from the Essex quartet The Windmills. "Three Sixty Degrees" sounds like a cross between Winter Hours and the Church, to me, infectious and unpretentious. "Bad Luck Charm" mixes in some Translator, and is only undermined by a subtle but pervasive pitch waver, like my turntable is circling around the proper speed, which the strobe on the front insists isn't the case. 45, black.
http://www.furia.com/twas/twas0232.html#entry44

if you review the windmills, or find a review we haven't seen, please mail us a copy.....