Filed under: album, review | Tags: angie stone, best of, carly simon, never been gone, richard steele, sara silver, simon christopher, vanessa paradis
In this month’s roundup, we’ll be looking at a bunch of stragglers from last year that we ran out of time to publish before Christmas, plus a few early 2010 releases in brief.
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Vanessa Paradis
Best Of •••
Wrasse
In many ways, Vanessa Paradis’ 1987 hit ‘Joe Le Taxi’ still sums up how the English regard French female popstars: the heavy accent, delivered with a babydoll pitch, cute as a kitten with a little bit of vixen thrown in. Such was its provocative, innocent-girl charm that, out of nowhere, the song launched Paradis, then just 14 years old, on the path to a lengthy career. Next came a slightly more sophisticated album, Variations sur le même t’aime. Produced by Serge Gainsbourg, it ushered in a second wave of huge success in France, with the wonderful ‘Tandem’ barely off the airwaves, helping to really nail a credible career for the still young ingénue.
Filed under: album, back issues, review | Tags: bebel gilberto, holly golightly, katiejane garside, keith anderson, lesley gore, mary gauthier, patty griffin, rod thomas, sara silver, sean hudspeth, the go team, thea gilmore, trevor raggatt
The following reviews were published on our old MySpace blog in 2007.
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Katiejane Garside
Darling, they’ve found the body: an exhibition ••••
Woom Gallery, Birmingham
For those of you who have followed her from the early days of Daisy Chainsaw through to her current band, Queenadreena, Katiejane Garside’s debut art exhibition, ‘Darling, they’ve found the body’ is not to be missed. Currently on display at Woom in Birmingham’s famous Jewellery Quarter, ‘Darling…’ presents a whole new side to one of rock music’s most underrated frontwomen. Despite already boasting an enviable array of talents, Garside recently decided to throw her hat into the ring of the art world. Having often been the source of great speculation and controversy in the media, she has always seemed enigmatic, eccentric, and, according to her more cynical critics, utterly mad. ‘Darling…’ offers the chance to learn more about what makes Garside tick and what has propelled her this far into what has been a fascinating career to date.
Firstly, if you’re planning on going, there is the issue of getting to the venue. Unless you’re familiar with the city, it can be a long and confusing walk to the exhibition, so I recommend that you take a taxi or train there. The distance from Birmingham New Street Station and Woom is reasonable, so a taxi should not cost any more than four to five pounds, and is the quickest option by far. You will find it next to the jewellery college in Vittoria Street, where you are given a friendly greeting by the owners upon entry. Admission is free, but they have a wide selection of related merchandise at agreeable prices at the front desk should you wish to have something to remember your visit by.
Coming to the first room of the exhibition, you are immediately greeted with facets of Garside’s life and mind, hanging from every wall, in every corner, as clips from her recent solo musical project Lalleshwari play in the background. Although it’s not overwhelming, you immediately realise that you are seeing a sizeable part of Garside’s personal life laid wide open for others to see. At first it feels slightly voyeuristic but you soon become accustomed to it, knowing that she would not display these things if she didn’t want people to see.
Among the first things you will notice as you get your bearings are the displays on the walls of letters, bills, journal entries on old, torn paper and negatives, home-made dresses displayed on surreal mannequins, personal effects arranged in a fireplace, along tables or suspended from the ceiling. She has added to most of the letters with sentences and sketches and self-portraits, showing an impressive and seldom-seen skill for drawing; artefacts in display cases, the most memorable being an old set of scales to which she has stuck taxidermied butterflies, one for each year of her life so far. You’ll see photographs both large and small, depicting her in the middle of various moments, some more directly artistic, some candid, each showing subtle glimpses into her private world, past and present; polaroids of her daubing walls with verse in red paint, posing with shop mannequins, some of her in her kitchen or bathroom, blown up to a larger scale – the latter with Garside as nature intended, a mask being the only exception to her nakedness. There is a definite sexual element to them, and the exhibition as a whole, but it’s not to make you uneasy. This is Garside being as open and honest as she wants to be. She is somehow simultaneously androgynous and feminine, exuding the aura of one eternally young and pretty.
The videos – one for the exhibition itself and the other a promotional clip for her forthcoming album Ruby Throat – sit at the very end of the exhibition. The first is very much a dark, surreal affair that’s centred on a pair of ‘dreamdolls’ she created: Genica Pussywillow and Sleeplikewolves. It’s hard to describe and do justice – watch very carefully and you’ll understand what I mean. The Ruby Throat promo, meanwhile, exudes a different kind of mystery and peculiar fragility as Garside moves like a grown-up ragdoll in an overgrown plant-strewn midnight garden, inviting you to come out and play alongside her.
All of these things, though separate little works in their own right, come together to form a window. A window that Garside has put together to allow us to see a little of her world, and, whether or not it was her intention, see that she is as human as any of us. You will walk away feeling you have got to know her, the real her, a little better.
Sean Hudspeth
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Mary Gauthier
Between Daylight & Dark ••••
Lost Highway
There couldn’t be a more apt title for this fifth release from Louisiana-born singer-songwriter Mary Gauthier. It’s plain from a cursory listen that the human dramas set out in these songs inhabit that moral and emotional twilight of the soul implied by the four words – Between Daylight & Dark. Gauthier (for the uninitiated that’s pronounced go-shay – no stripy-shirted Gallic fashion pixies here!) and her music are polar extremes to the mullets and Stetsons country of CMT. Not for nothing has her output been labelled ‘country-noir’. Each tune is a small window on a real life full of hope and pain, dignity and disappointment.
If this all sounds a little dour and depressing don’t be fooled. This might not be your average party music but sit tight and be rewarded with an authentic emotional experience. Recorded live in the studio with minimal overdubs it’s the passion of Gauthier’s performance that shines through each rootsy track, producing a surprisingly uplifting and energising result – particularly considering some of the subject matter.
Closing track ‘Thanksgiving’ is a case in point. A story of visiting relatives in prison on that most family-centred of US holidays it is filed with conflicted poignancy and insight into the dignity of the human soul. Gauthier is quoted as saying “It’s absolutely about the words.” With lines like “My Grammy looks so old now… / her hands tremble when they frisk her from head to her toes / they make her take her winter coat off and then they frisk her again / when they’re done she wipes their touch off her dress, stands tall and heads in”, who would dare to argue?
Between Daylight & Dark is the very definition of a grower. A little difficult to like at first listen, but impossible not to love in time.
Trevor Raggatt
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Bebel Gilberto
Momento •••½
V2
Given the principles of nature and nurture it’s understandable that Bebel Gilberto, youngest member of the Gilberto bossa nova dynasty, has a remarkable voice. Whether that statement is applied literally to her seductively silky vocals or figuratively to her music’s unique blending of trad-Latin rhythms with chillout pop sensibility, it’s no less true. Bebel Gilberto has a remarkable voice.
On Momento, her third solo album, Gilberto looks set to cement her place at the leading edge of contemporary flavoured Latin music. The opening track sets the agenda in the clearest terms. This isn’t the Rio de Janeiro of carnival – rather the sounds conjure up a reverie composed of a heady mix of laidback Brazilian fragrances. This is a tranquil moment(o) sitting atop the summit of the Sugar Loaf Mountain, soaking in the view of the city nestling amid the forests with a golden beach arcing away into the distance. Or perhaps it’s a late afternoon resting on that same strand before wandering into a sophisticated nightclub where the beautiful people slink the night away. The hints of odd electronic noises layered amongst the music only serve to further heighten this otherworldly dreamscape. Blissful!
So intoxicating is this Brazilian cocktail that it’s hard to believe that large parts of the disc were recorded in New York and London with avowedly Western producer Guy Sigsworth’s fingers on the faders. Still, the music here is 100% Brazilian and 100% designed for the supposedly more sophisticated palate of the Northern Hemisphere. Perhaps the wisdom of involving her regular band members alongside Sigsworth’s swirling keyboards was the masterstroke needed to lend the required authenticity and consistency in Latin feel and sound. Whatever the reasons, it works in spades.
The original compositions are blended with three inspired covers, ‘Caçada’ (written by Gilberto’s uncle and famed Brazilian songwriter Chico Barque), ‘Tranquilo’ (by the young Rio-based producer Kassin) and finally the Cole Porter classic ‘Night & Day’. This latter track takes on a particularly languid bossa nova feel as Gilberto’s voice is supported by simple acoustic guitar and percussion before opening out into a smokier jazz club feel. This, of course, is one of the few English language tracks, but so captivating are the performances across the album that the Portuguese lyrics on the majority of songs go unnoticed. Somehow, sinking into the warm arms of Momento we know Gilberto’s seductive meaning all too well.
Trevor Raggatt
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Thea Gilmore
The Threads EP ••••
Self-released
Gilmore’s second EP comes six years after the brilliant As If and is her first release since the birth of her son Egan last November. Originally available exclusively from the merchandise desk during her acoustic tour this past Spring, a limited run of The Threads is now available to purchase from http://www.theagilmore.net. And the good news is that it’s more than just a half-hearted collection of acoustic demos or dubious outtakes from her last album proper. The distorted opening chords of ‘Teacher Teacher’ dispel both assumptions as electric guitar adds some bite.
This is clearly not acoustic and it’s much more English sounding than 2006’s Americana flavoured Harpo’s Ghost; it feels like something from the Avalanche sessions, perhaps a bit less glossy. ‘Are You Ready?’ continues this feel with one of those strangely compelling, hypnotic choruses that Thea writes so well, perfectly offset by Nigel Stonier’s swirling guitar and counterpoint vocals. With its typically politicised lyrical bent it’s pretty much a classic Gilmore tune.
The sumptuous ‘Icarus Wind’ brings the mood right down as Gilmore turns her gaze inwards with perhaps her most tender composition to date. She sounds suddenly vulnerable and emotionally raw, picking out a sparse piano motif and singing slightly higher than usual. It’s a trick that worked so well for PJ Harvey recently and Gilmore is almost as convincingly ghostlike. The EP draws to a close with 18th Century traditional Irish ballad, ‘The Parting Glass’, again delivered nigh on perfectly with subtle guitar textures and Gilmore’s intimately rendered vocal. A church-like ambience adds a welcome tenderness as she creates a holy moment of rejoicing in present company and a remembrance of friends past. Truly gorgeous stuff.
Like As If before it, The Threads EP is a more than worthy addition to Gilmore’s already thoroughly impressive canon. And with no plans to ever re-press it once the first limited run is gone, our advice is to grab a copy now or be forced into an eBay bidding frenzy later when you realise you really need this disc. You have been warned.
Trevor Raggatt
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The Go! Team
Proof Of Youth ••
Memphis Industries
Energetic, noisy and hard to ignore, The Go! Team certainly made a name for themselves the first time around. Beginning as the kitchen project of founding member Ian Parton (clearly far too cool for a bedroom project like many others made by one man with no budget) in his mum’s house, their 2004 debut Thunder, Lightning, Strike went from being an underground and critical favourite to a Mercury Music Prize nominee through the unbeatable power of word of mouth (albeit with flirtations with major labels along the way). Endless touring, numerous festival appearances and a clutch of EPs later, Parton and his troop of multi-instrumentalists greet us with their second full-length offering Proof Of Youth. Unfortunately, the title is the only thing of any vigour or freshness about the album. What’s the difference between this and their debut? Um, very little…really. Proof Of Youth follows the blueprint of Thunder, Lightning, Strike almost step by step, but forgets to bring the spark.
Lead single ‘Grip Like A Vice’ is a perfect illustration of what’s gone wrong. Where The Go! Team used to excel at mixing well chosen samples and live instrumentation, here it sounds more like they have sampled their previous record than anyone else’s. Exactly the same guitar sounds float above identical brass and drum loops, everything seemingly sticking to an if-it-ain’t-broke blueprint until even the vocal raps over the top appear identical in tone and arrangement. A weak comeback single that fails to get into gear paves the way for a similarly limp and soulless album. The Avalanches, whose debut album received huge critical and public acclaim, had the sense to leave their cut-and-paste musical efforts confined to one cherished album, presumably because they recognised the limitations of a fun, but ultimately constricting format. By constructing album number two in the same fashion as their last, The Go! Team have left little room for experimentation and have made a record that is, by all accounts, alright, but utterly pointless.
That’s not to say it’s unpleasant as such; ‘The Wrath Of Marcie’ is a sweet track, possibly the album’s highlight, but it’s really only ‘Feelgood By Numbers’ part two. Or part one, but rehashed. There is little shift in the album’s tone from start to finish, and at this point in time, the lo-fi production values and slightly too trebly EQ balance begin to grate. Lots of artists and outfits have done this now, particularly in the three years between Thunder, Lightning, Strike‘s release, re-release and succession. If Parton et al. wanted to repeat the tone of their earlier work, the songwriting should have at least moved on, but it hasn’t, and even at it’s strongest Proof Of Youth falls flat.
It is less a proof of youth than an admission of immaturity. The Go! Team are still stuck in their career of three years ago, and the only thing really ‘young’ here is the level of craftsmanship as the songs are ultimately hollow, lacking either direction or development. Very disappointing.
Rod Thomas
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Holly Golightly & The Brokeoffs
You Can’t Buy A Gun When You’re Crying ••••½
Damaged Goods
Holly Golightly is a true, if underappreciated, icon of women in music, having co-founded the all-girl garage band Thee Headcoatees in the early ‘90s (associated with Thee Headcoats and the twisted lyrical world of Billy Childish), and, 13 solo studio albums later, is still producing gems under her own terms. But who the hell are The Brokeoffs? Why they’re essentially an ever-revolving band of musicians orbiting around one man, the mysteriously titled Lawyer Dave (real name David Drake, or weren’t we supposed to know that?), whose self-released 2005 album Rest Stop marked out a natural collaborator for Ms Golightly – an exquisite piece of musical matchmaking.
Much of Golightly’s riotous appeal lies in that she recognises the beauty of blues and rockabilly is that the most important aspect is conveying the essence of borrowed musical roots, not playing it to perfection or being to the manner born. On You Can’t Buy A Gun When You’re Crying she invites us all to enter her echo-filled room, kick the boxes, tap on every available saucepan and pot and away we go with ‘Devil Do’, a hypnotic chant to that ol’ horndog Satan. But make sure you listen all the way through as you kick off your shoes to companion piece and closer ‘Devil Don’t’, a slice of sheer abandon to shambolic sonic joy.
Along the way you’ll go ‘Just Around The Bend’ as the madame sashays around the saloon with a light fatigue dogging her heels and a tinge of 1930s cabaret chic. Your journeywoman will then lead you through a land of whiskey slouches where ‘Everything You Touch’ pays close heed to the sound of Exene Cervenka (former wife of ‘Lord Of The Rings’ actor Viggo Mortenson) from The Knitters, X and, more recently, the Original Sinners, with lashings of slide guitar and lilting atmosphere. A run-in with the cops will reiterate the album title (apparently a genuine law in the USA) but it won’t matter as the song just oozes country cool with its pervading loved and lost scenarios so brilliantly described in the lyrics.
Elsewhere, ‘So Long’ is finger-pickin’ good with meandering sad lyrics sung as a duet, while ‘Time To Go’ maintains the same atmosphere with a train-like chugging rhythm. You’re still travelling at this point, no matter what the destination may be. The most haunting locale you’ll visit has to be ‘I Let My Daddy Do That’. Golightly takes us to the deeper than deep South and is the most delta-wistful track on the album. Hopeless can be cool after all.
Every bit the rebellious southern belle (one suspects with the heart of a tomboy) and less her alter ego image of the protagonist in ‘Breakfast At Tiffany’s’ with whom she shares her name, may Golightly long continue to kick up the dust and the southern blues. Everyone who’s prone to a hard luck mood and wants something to sink beers to without feeling tragedy should buy this record post haste for a deliciously languid, lost weekend.
Sara Silver
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Lesley Gore
Ever Since ••••
Engine Co.
You’ve gotta feel for Lesley Gore, the ‘It’s My Party’ girl who insisted that she’d cry if she bloody well wanted to thankyouverymuch. After four years in the glaring spotlight in the mid-1960s, she was all but washed up come her early 20s. Even the release of two Carole King-inspired albums couldn’t save her career, and she was forced into virtual retirement by the end of the decade, resurfacing sporadically to perform on Golden Oldies tours and talk about how she used to be famous. Now, in 2007, not having released a single note on record since a dodgy collection of covers 25 years ago, Gore has decided it’s high time for a comeback.
Of course, comebacks are tricky affairs. One of Gore’s peers, Mary Weiss, the innocent, clear-cut voice of The Shangri-Las, unleashed her debut solo album earlier this year more than 40 years on from her last release with the group. It was a mess. The album, recorded as an homage to the era she first fame in, lacked the purity and spark of the original records. Her sound had scarcely progressed one iota and Weiss wound up sounding more like a hokey tribute to herself than the genuine deal. And therein lies the dilemma of the comeback: do you carry along the same route or try and catch the coattails flapping from the top of the nearest passing bandwagon? Should Gore have hired the hitmaker of the moment and sluttily vogued over beats, possibly replicating Cher’s success from the late 1990s? No, probably not. Still, it would have been a sight to behold.
Instead, what you will find on Ever Since is thoroughly sensible, middle-of-the-road pop. Which really isn’t a bad thing, no matter what the NME might tell you. There is much that will seem familiar on this album, from the warmth of the production (courtesy of one Blake Morgan) to the knowing lyrics. While the arrangements are mostly tasteful and adult contemporary, Gore gives a nod to her past life with the kind of doo-wop harmonies found on her earlier hits. There’s even a smart lyrical reference to ‘It’s My Party’ on the title track, where she coos “All the parties I’ve been to you were missed”, romanticising all those missed opportunities for love.
Also harking backwards, Gore recreates her past hit ‘You Don’t Own Me’ and the song she co-wrote for ‘80s flick ‘Fame’, ‘Out Here On My Own’, surprisingly effectively. Elsewhere, the benefits and wisdom of age come to the fore on ‘Not The First’, where she caringly chastises a misguided, naïve woman pursuing the wrong guy, delivering lines like “you’re not the first to think you’ll be the last” with a motherly concern. Ever Since may not be cutting edge but Gore’s world-weary vocals, which make her sound like a more accessible present-day Joni Mitchell, are what gives the album a magical touch. Always direct, Gore isn’t trying to be something she isn’t, or someone she once was, and that’s the glue that binds this set together so well.
Keith Anderson
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Patty Griffin
Children Running Through ••••½
ATO
It’s a real injustice that the name of Patty Griffin does not reside in the category called ‘household’. Of course this isn’t the case for those in the know – Griffin’s music has been covered by artists ranging from Emmylou Harris, Mary Chapin Carpenter and The Dixie Chicks to Bette Midler, Jessica Simpson and Solomon Burke – but recognition beyond the cognoscenti is long overdue.
Griffin’s music resides in that American folk, pop, country, rock nexus exploited so effectively by Sheryl Crow and many others (although her sensibilities are decidedly more folk and country than that particular wildflower). In fact, the loping talkin’ feel of ‘Stay On The Ride’ is reminiscent of some of the best of Crow’s songs. Having said that, I suspect that the converse is a more accurate statement since the strange, existential tale of a mysterious old man taking a bus ride into destiny could easily have served as a skewed blueprint for Crow’s stream of consciousness breakthrough hit, ‘All I Wanna Do’. This strangeness serves to heighten the heartbreak contained in track which follows, the equally chilling and heartwarming ‘Trapeze’ – a down-home story of lost love in the circus.
Across the album arrangements are generally sparse, throwing the listener’s attention squarely on to Griffin’s arresting voice and haunting lyrics. Where fripperies such as strings and horns are applied it’s with taste and discretion. One such instance is single ‘Heavenly Day’ which also features guest vocals from Emmylou Harris and luscious grand piano from Ian McLagan of The Small Faces. It’s a testament to the varied sounds on the album that this is followed up by the jangling dobro, autoharp and Tex-Mex horns of ‘No Bad News’ and the stripped back folk of ‘Railroad Wings’.
From the naked opening double bass notes of ‘You’ll Remember’ to the wistful closer ‘Crying Over’, Griffin’s pure country tones drill down to the emotional core of the songs, revealing a new dimension of philosophical and metaphysical depth to the American folk-country genre and moving the story-song far beyond simple narrative. Griffin’s career to date, has never shown less than brilliance in both in writing and performance but Children Running Through looks set to be a coup de grace, taking her music to new heights and establishing her as another National Treasure of the 50 States.
Trevor Raggatt
Filed under: album, back issues, live, review | Tags: aaron alper, alan pedder, alex doak, anja mccloskey, anna claxton, cyndi lauper, gem nethersole, jenny lewis, kevin hewick, ladyfuzz, lampshade, lavender diamond, les georges leningrad, lisa li-lund, lisa loeb, love is all, rachel lipson, robbie de santos, sara silver, sylvie lewis, the last town chorus, the like, the long blondes, the watson twins, tiffany daniels
The following reviews were all published on our old website between May 2005 and December 2006.
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Ladyfuzz
Live at Carling Academy, Bristol ••••
June 30th, 2006
As is usually the case with Bristol’s indie-funk-electro night Ramshackle, the band that is playing have not been promoted well. In fact, I’d go so far to say they’ve not been promoted at all. I’m a fairly loyal Ladyfuzz fan and the first time I heard of this gig was when I was half-walking, half-falling down the lethally slippery steps in the venue. My friend in front of me stopped dead, stared in disappointment and exclaimed, “oh no, a band are playing!”
You can forgive the reaction; a live act is the last thing the sweaty, intoxicated audience want right now. It’s 11:30pm and everyone is ready to dance. The arrival of a band would usually mean hardcore supporters cheering at the front, drunk misplaced souls falling over themselves in the centre of the dancefloor wondering where they are, while the majority of the crowd sulk and wait for the performance to end. But hallelujah! The venue is comfortably empty, the drunk people are slumped against a wall, and the sulkers? There are no sulkers, because Ladyfuzz are fantastic!
Launching into ‘My Summer Of Fun’ and ‘Monster’, singer Liz Neumayr rocks the electro look and it’s not long before the large crowd that’s gathered to watch these unexpected guests are dancing like mad. The addictive chorus of single ‘Oh Marie’ is adopted and repeated at random intervals by those present throughout the night and the band look genuinely pleased. Rightfully so, this was the night a small three-piece band conquered an area of entertainment few other bands have conquered before: they pleased a Ramshackle audience.
Tiffany Daniels
originally published June 30th, 2006
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Lampshade
Because Trees Can Fly ••½
Glitterhouse
Part-Danish, part-Swedish combo Lampshade first formed in 2000, but it was not until singer-songwriter Rebekkamaria joined a year later that the band began to make headway. Since then they’ve had a hit single in Denmark with the title track of this, their debut album, and become the toast of the indie music press, radio and national TV. The album’s unusual title comes from a poem by Danish author Martin A Hansen and is supposed to reflect their solid and simple yet grandiose music.
On first impression, Because Trees Can Fly is thickly layered with intensely repetitive and atmospheric soundscapes, mainly constructed through judicious use of electric guitar and drums, with the occasional sounding of a trumpet, keys or glockenspiel melody. Most of what’s on offer are fairly predictable, basic post-rock compositions, choosing to work with dynamics and impact rather than taking the listener on an expressive, rewarding and melodic journey.
Certainly, there is little doubt that the band’s wild card (if not meal ticket) is the voice of Rebekkamaria, a Björk-like (or rather, Björk-inspired) wonder that both anchors and elevates the band. Her light and frail vocals make for an appealing contrast with the heavy, driving guitars, although sometimes her singing is embedded within the sound, rendering it more of a melodic instrument than a conduit of intelligible words. However, she sometimes has a tendency to overemphasise her vocals, excessively emoting and coming across as slightly contrived.
Though Lampshade clearly know how to rack up the intensity with dynamics and layers of sound, their repertoire and instrumentation does lack variety. Whenever they do take an alternative approach or slightly alter the instrumentation, authentic emotion and creativity shimmers through the guitar and drum-crammed surface like delicate sunbeams. Essentially a sometimes impressive guitar act fronted by a little girl with a sweet, soft voice, if they’re given time to develop, Lampshade might well be worth looking out for in the future.
Anja McCloskey
originally published November 7th, 2005
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The Last Town Chorus
Wire Waltz •••
Loose Music
The Last Town Chorus used to be a duo – lap-steel guitar playing singer Megan Hickey and vibrato guitarist Nat Guy released their eponymous debut album in 2002 and performed all over the world until Guy departed in early 2004. Since then, Hickey has been fronting The Last Town Chorus alone, working closely with an ever-revolving ensemble of musicians. Despite living in Brooklyn, surrounded by canal traffic, aircraft noise, subway rumbles and sirens, Hickey somehow manages to shut out the racket. Almost without exception, her songs are slow and dark and played on a sixty-year old cheap lap-steel guitar. She probably performs with her eyes closed. Certainly, Wire Waltz is a very quiet album for a city girl; if you hadn’t read otherwise, you might easily imagine her sitting on her front porch in Midwest America, on a rocking chair, clutching her guitar, rather than the floor of her buzzing urban apartment.
The title track is a perfect example of Hickey’s vision. A dreamy but fairly fast-paced intro is soon followed by long, almost dragged out vocals, giving the song a certain edge and sudden mood change. In a densely layered arrangement, a lonely violin is the only approachable and natural sound in a sea of clouded pedal steel and it works like a charm. ‘You’ is equally affecting; Hickey’s simple, soothing vocals are accompanied by stop-start instrumentation, as if all the musicians were taking a breath at the same time and thoughts were put on hold.
Elsewhere, the songs sometimes lack an interesting angle, suffering from predictable arrangements and offering few, if any, surprises to the listener, ‘It’s Not Over’ and ‘Understanding’ being the worst offenders. It’s only when The Last Town Chorus get more experimental that the attention doesn’t wander. In a way, these songs are more authentic and make for comfy listening. ‘Caroline’, for example, is a playful little number with its upbeat tempo and layered vocals making it one of the more memorable inclusions. ‘Wintering In Brooklyn’ is similarly perky and has an optimistic, more melodious feel.
Hickey has a vulnerable side, too, and this comes across in ‘Boat’ and ‘Huntsville 1989′, both very intimate and personal affairs. It’s a shame, then, that the recording lets her down, her detached and distant vocals failing to do justice to the songs. Oddly enough, it’s the cover of David Bowie’s ‘Modern Love’ that really shows what The Last Town Chorus can do. The colourful arrangement and clear song structure really helps to bring out the emotion in the song. ‘Foreign Land’ is equally interesting. Here, Hickey has taken a much angrier, darker approach. It’s an attitude that really suits and her vocals are honest and close.
Although Wire Waltz has one or two hidden jewels, overall it lacks spark; the dearth of variation and repetitive motifs bring it down. When Hickey plugs in to her more instinctual side musically and wrings out her emotions, that’s when things get interesting and if she can do that more, The Last Town Chorus will be ones to watch in the future.
Anja McCloskey
originally published October 5th, 2006
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Cyndi Lauper
The Body Acoustic •••½
Epic / Daylight
It’s a little known fact that Cyndi Lauper and Madonna both had their first UK chart hit in the very same week back in January 1984, and while Lauper won the battle and that year’s Grammy for Best New Artist, Madonna has undisputedly trounced her in the war. Though both are peas from the same tenacious pod, Lauper’s sorely underrated vocals and songwriting skills never quite broke into the grounds of longstanding popularity. Her highest-charting album was her greatest hits collection, 1994’s Twelve Deadly Cyns… & Then Some – surely a sign of someone primarily regarded as a ‘singles artist’. It’s a shame too that 2003’s covers collection, At Last, failed to even chart in this country, as it was an eye- opening and never before seen showcase of the depth of Lauper’s emotional intensity, proving that her voice and creativity were considerably more potent than critics originally believed.
Lauper continues in this vein of switching creative gears with new album The Body Acoustic, a collection of unplugged revamps of some of her best known songs. It’s a dangerous concept, and one that risks the emotional evisceration of her bona fide classics – see Alanis Morissette’s Jagged Little Pill Acoustic for a prime example of how not to do it – but surprisingly enough, while never actually surpassing the originals, The Body Acoustic presents Lauper in a new and interesting light. The most striking difference here is the depth of Lauper’s singing. She was always able to hit the upper register in the ‘80s, but this time around she ditches the kitsch vocal stylings and lets her true talent shine. The county and western warmth of ‘Money Changes Everything’ sees her getting good and gritty before culminating in some eye-popping high notes, while the quasi-blues take on ‘She Bop’ (the original female masturbation anthem, predating The Divinyls’ ‘I Touch Myself’ and Tori Amos’s ‘Icicle’ by several years) has Lauper channelling sex and loneliness with sobering effectiveness.
Indeed, the only real weak point of the album is the overabundance of guest vocalists; Lauper’s impeccable vocals do not call for back-up. That said, some of the collaborations work well, such as Ani DiFranco and Taking Back Sunday member Vivian Green’s raucously funky contribution to ‘Sisters Of Avalon’. At the other end of the scale, the classic pop archetype of ‘Time After Time’ fares less well with the weightless vocals of Sarah McLachlan letting the side down. The worst offender by far, however, is Shaggy, whose clogged-up throat warbling almost butchers an otherwise wonderful rendition of ‘All Through The Night’. Happily, the two new compositions, ‘Above The Clouds’ (featuring Jeff Beck) and ‘I’ll Be Your River’ (also with Vivian Green), sit comfortably among the more familiar material and are rather pleasant indeed.
Given the dismal reception afforded to her more recent work, a domestic release for The Body Acoustic is almost too much to hope for. But, as a whole, the album really works on its own and doesn’t dilute the songs it borrows its inspiration from, proving that Cyndi Lauper, even after all these years, still just wants to have fun.
Aaron Alper
originally published February 6th, 2006
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Lavender Diamond
The Cavalry Of Light EP ••••
Self-released
When the lovely Dévics namedropped this Los Angeles-based quartet in last issue’s interview, Wears The Trousers knew we had to investigate further. What we found was this sparkling jewel of an import – 16 minutes of some of the most evocative music ever committed to disc. Fronted by ‘70s songstress throwback Becky Stark and featuring former Young People singer/guitarist Jeff Rosenberg, composer Steve Gregoropoulos and percussionist/visual artist Ron Regé Jr., Lavender Diamond make pastoral chamber-folk with a spiritual bent that steers away from being fiercely didactic, just gently inspirational. Stark in particular is a keen advocate of the healing power of music and making every second sacred.
The daughter of a would-be minister mother (she was kicked out of ministerial school for rock ‘n’ roll tendencies), Becky and her sister would often attend their mum’s own ‘Church of Popular Culture’ where they would debate the metaphysical meanings of songs by Madonna and Culture Club, before graduating to the likes of Fugazi and Chisel. None of which really give you any idea of how heavenly this EP is, so moving swiftly on…
The thing about singing of a broken heart is that everyone’s doing it. The theme is so prevalent, so universal that it’s hard to really give that much of a damn unless it’s being done with fresh invention. Clearly, Lavender Diamond have collectively preempted such a jaded, grumbling worldview, and with a sense of humour too. If anyone had told me last week that I would soon become obsessed with a song as bluntly named as ‘You Broke My Heart’, in which it takes a full sixty seconds before any other lyric is uttered, I never would have believed them. Yet here I am with the song on its umpteenth repeat thinking it could well be the greatest piece of music since, well, almost anything on Joni Mitchell’s Blue. Rarely has anyone sounded so simultaneously mortified and overwhelmingly thrilled at getting the boot. Stark’s angelic, escalating vocal soars and swoops like a repentant bird of ill omen over a janglefest of acoustic guitar, tambourine and radiofriendly staccato piano riffs. It’s an ecstatic revelation that works far better in practice than it ever could on paper.
While just as brilliantly conceived, nothing else is quite as good. The sleepy, weeping strings and plaintive piano of ‘Please’ touch on a rainy-day Carpenters vibe and would sound perfect if it were played as the credits roll on some devastating indie flick (that is, if Aimee Mann were too busy). ‘In Heaven There Is No Heat’ starts off like a subdued Josephine Foster outtake then suddenly there’s sunshine – irresistibly bursting through the gloomy repetitive verses comes the biggest, shiniest, multi-part harmony chorus this side of The Magic Numbers. Inspired! Then, like Vashti Bunyan on valium, ‘Rise In The Springtime’ arrives a fully-formed mini-Britfolk epic that’s so airy and gossamer-light that not even its worshipful lyrics can cloy. It’s sweet, strange and a little bit squidgy, like aural Turkish delight for slimmers.
Herbalists claim that extracts of lavender can be used to soothe headaches, to aid your sleep and even to help cure acne. I’m making no promises on that last one, but The Cavalry Of Light seems equally potent. Seek it out on editor’s orders.
Alan Pedder
originally published May 22nd, 2006
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Les Georges Leningrad
Sangue Puro ••••
Tomlab
Les Georges Leningrad came into being in 2000 and have an illustrious history of releases of handmade CDs, 7″ singles, and two albums – Deux Hot Dogs Moutarde Chou (‘two hot dogs mustard cabbage’) and Sur Les Traces De Black Eskimo, for which they purportedly travelled to the North Pole to get in touch with nature and chanced upon a black Eskimo population. In the bare-all, behind-the-scenes world the rest of us live in, where mystery and magic are mangled into media mush, stumbling into the strangeness of the Les Georges Leningrad outré existence is a welcome injection of swirling emotional charges.
In the flesh, the story of Bobo Boutin, Mingo L’Idien and Poney P is one of love and hate, having been introduced to one another by way of a fight in Ontario street tavern, la Terrasse Bellehumeur. Boutin was at the time a bohemian singer, L’Idien a contemporary music student at University of Montréal, while Ms P was busying herself with writing hundreds of songs in a gigantic schoolbook and dreaming of sharing a stage with the art-rock greats: Plume, Duchess Says, Sun Ra and Felix Kubin. Musically, their tale can be summarised as follows: eight-note, F2-undulating synthesiser riffs, an explosive rhythmic drive inspired by the sambo (a Russian self-defence technique invented in the 1930s) and the sexy voice of their ‘South Central Li’l Amazon’ immersing us in the eerie and unforeseeable universe of Petrochemical Rock…their terminology, yes, but it works just fine.
Third album Sangue Puro proves that art installation music is alive and well and that Les Georges Leningrad are only too ecstatic to serve up even more Franglais power-punk/scary electro tunes for our edification. The title track gets an industrial electronic ambient shock treatment with drum rolls and finishes with what might well be the sound of electronic crickets rubbing their legs together in frenzy. Nine-minute epic ‘The Future For Less’ is built upon a Kafka-esque electro soundbed that’s so unnerving you might prefer to face an angry horde of Daleks entering stage left. It’s not as bleak as it sounds; humour is everywhere between the musical lines of intense expressionism. Take ‘Lonely Lonely’ for example. It starts like a fairly typical punk tune with rhythmic power drumming but once the grunting Neanderthal vocals kick in with “un, deux, trois” and “la la” lyrics, you’ll be forced to reassess as any semblance of normality slides away.
Things are at their punk-poppiest on ‘Mange Avec Tes Doigts’ (‘eat with your fingers’) with a heavy guitar riff and Poney P’s Nina Hagen-esque punk vocal, but LGL soon turn up the rage. Later, she raps over ‘Sleek Answer’s rhythmic bass synth and shrieks along with eerie speed rhythms on Germanic wundersong ‘Ennio Morricone’. Elsewhere, ‘Eli, Eli Lamma Sabbacthani’ (‘my God, my God, why hast Thou forsaken me?’ [Matthew 27:46]) may borrow its title from the words of the cross but it comes across as a Latino-style political rant that segues into a Native American chant with bongos to finish and might well have you reaching for the magic mushrooms.
With Sangue Puro, Les Georges Leningrad bring real hope that we haven’t quite washed out all the world’s colour just yet, and for that they should be commended. Not for the fainthearted but well worth investigating for those of a sterner constitution, anyone wanting to know more should steel themselves and check out clips of Les Georges Leningrad’s live show on YouTube or simply splash some blood around on their website.
Sara Silver
originally published November 23rd, 2006
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Jenny Lewis with the Watson Twins
Rabbit Fur Coat •••½
Rough Trade
Probably the first thing you’ll notice with this album, perhaps with a pang of initial apprehension, are the two neatly accessorised yet slightly sinister characters loitering in the background on the Shining-esque sleeve. Say hello to The Watson Twins, with whom the moonlighting Rilo Kiley frontwoman Jenny Lewis generously shares the credit for Rabbit Fur Coat. It’s surprising really, for though they are ever-present in the mix and undoubtedly talented, the twins are essentially only backing singers to Lewis’s distinctive vocals. The unrivalled star of the show, she drifts, snarls and soars her way through witty and occasionally uncomfortable lyrics, leaving the Watsons to fill in the gaps wherever they can. Even the instrumentation is kept to a minimum, in keeping with the highly personal manner in which Lewis wrote these songs.
Supposedly recorded in six days flat, Rabbit Fur Coat is intended as a tribute to Lewis’s relationship with her mother and Mrs Lewis’s favourite singer, Laura Nyro – specifically the 1971 Nyro/ LaBelle collaboration, Gonna Take A Miracle. That’s quite an ambition, but luckily Lewis boasts a sensational resume that proves she possesses more than enough countrified white soul to carry it off, and there are touching moments aplenty. Take the gospel/bluegrass opener ‘Run Devil Run’, for instance, a short a cappella vocal workout in which Lewis immediately gives the Watsons a run for their money. But while the lush harmonies contained therein is surely what the twins were hired for, a few songs down the line they soon start to grate a little, popping up unawares to embellish a chorus or three in their rather dated style (occasionally reminiscent of Mary Ford’s multi-tracked crooning on 1950s Les Paul records).
Luckily, no amount of excessive cooing can entirely distract from Lewis’s expressive and compelling vocals, and the talents of the twins admittedly compliment these well, teasing out and reinforcing the melodic subtleties throughout, no matter how occasionally mawkish. No better is this demonstrated than on ‘You Are What You Love’ (“not what loves you back”), an exuberant, wholesome pop confection that you can practically taste. Twinkling keyboards, a shuffling rhythm and an addictively relentless chorus all combine perfectly, rounded off with possibly the most satisfying ending imaginable in a culture of lazy fadeouts and over-indulgence. Also rather incredible are the seductive first single ‘Rise Up With Fists!!’ and the title track, the first of the twelve to be written. Lewis’s echoey voice is accompanied only by a tentatively plucked acoustic guitar, creating the impression of eavesdropping as she strums alone onstage, long after her audience and band has gone home. ‘Rabbit Fur Coat’ is the undisputed centerpiece of the record, best exemplifying Lewis’s sugar-sweet singing (thankfully shed of Watson warblings in this case). It’s a crafty little number, however; the nursery rhyme simplicity of the melody belies a chilling fable of how a cursed garment takes a family from rags to riches to rags again – a metaphor that, according to Lewis, runs throughout the album.
A cover of ‘80s OAP supergroup The Travelling Wilburys’ ‘Handle With Care’ makes for a dramatic change of pace and reveals itself to be a delightful surprise. The benefits of being one of the most well-connected women in the business are clearly laid out, with Death Cab For Cutie / The Postal Service’s Ben Gibbard contributing a chiming 12-string guitar and Roy Orbison’s parts, co-producer M. Ward doing Jeff Lynne and Conor Oberst of Bright Eyes croaking his way through the Dylan lines. Elsewhere, Lewis’s boyfriend Johnathan Rice and Saddle Creek producer extraordinaire Mike Mogis are among the 16-strong player count. Overall, Rabbit Fur Coat is a captivating, delightful and reassuring album that, although it lacks some of Rilo Kiley’s broad scope and musical versatility, offers an endearing glimpse into the heart and mind of a very special talent. The world should know about Jenny Lewis. Spread the word.
Alex Doak
originally published February 6th, 2006
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Sylvie Lewis
Tangos & Tantrums ••••
Cheap Lullaby
Enchanting right from the outset, Tangos & Tantrums boasts a beautiful blend of eccentric music hall-style backing and a voice that sounds as though its been classically trained and then eloped to New Orleans with a bluesy jazz band. Surprisingly upbeat considering its invariably dark subject matter and melancholic minor chord leanings, each track is a snapshot of a world that only Lewis seems to inhabit, her sepia-toned memories elegantly floating along. Fittingly, the sleeve bears no lyrics and is filled instead with anecdotes connected with each song, including musings by the artist and, in one case, a recipe for the cocktail imbibed at the time of writing.
‘By Heart’ sets the mood of the album perfectly; Wurlitzer, piano and percussion chime along nicely, invoking the feel of a gently turning carousel. As the lament unfurls, Lewis comes to the painful realisation that, although the relationship in question is not on her terms, she will stay the course until her beau decides to end it, whilst in the interim she learns to read his every move. Lines such as “your eyes are always straying, you want whatever’s far” form simple but jarring contrasts with the playful accompaniment.
Such stunning mini-stories are woven throughout the album, tackling different stages of relationships with a distinctly elegant and unusual take on every aspect. For example, in ‘All His Exes’, Lewis is seemingly possessed by the spirit of a 1920s flapper, asserting her individuality away from the titular cast-offs. Many of these songs are steeped in atmospheric melancholy, for example, the waltzing ‘When I Drink’. In fact, so often does Lewis discuss drinking and tragedy that if you gave her a dobro, more twang in her voice and a pair of very delicate cowboy boots, she would not be out of place in country music. ‘Promises Of Paris’ tells the tale of a man who’s liable to drink himself to ruin and death while believing his own deranged whisperings of the capital’s majesty. Musically, the song possesses a climate all of its own, with a saxophone solo so richly textured that it feels as though you could step inside the scenario and find the afternoon sunshine streaming through slatted blinds and a chrome fan ticking in the background, hardly moving the hot, sticky air.
Despite its glorious lyrics about being unable to awake from “daydreams of blue roses you used to bring”, ‘Love Songs’ is a slight disappointment and ‘New York’ could feasibly be skipped altogether to get to the fabulous ‘Conversation Piece’ where Lewis is joined in a duet by Richard Swift, their voices seductively blending in a tale of love punctuated with allusions to war. ‘Valentine’s Day ‘slows the pace to a cynical crawl before picking up once again for the delightfully dramatic bitterness of ‘My Rival’, inspired by Rudyard Kipling’s ‘Other Than That’, and the poignant ‘Old Friends’, which serves as a fitting finale for the album, as though bidding farewell to the listener with promises of a far-off reunion.
If given the attention it surely merits, the sensual, heart-sick world of Sylvie Lewis will transport you back in time and may even help you deal with a modern-day dilemma or two. Perfect for a lazy Sunday or an afternoon when you need to take time out from the world or perhaps to mend a wounded heart.
Gem Nethersole
originally published April 26th, 2006
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The Like
Are You Thinking What I’m Thinking? •••
Universal IMS
Nepotism has never been cuter thanks to this Los Angeles trio. All daughters of famous musical fathers (Mitchell Froom, Pete Thomas and Tony Berg), The Like’s punk-chic good looks and sassy sense of style make for great eye candy, but considering their connections, talent was not necessarily a prerequisite for a record deal. Luckily The Like do have talent and have inherited some musical inclinations from their prominent poppas. Are You Thinking What I’m Thinking? is quality girl-rock fodder that, whilst not being stellar under any circumstances, presents them in a promising enough light.
Mostly, the album employs the archetypal pop formula, portrayed with just a hint of girl power, and is utterly soundtrack prone. ‘Once Things Look Up’ delivers a shimmering MOR vibe, with vocalist Z Berg sounding like a teenaged Sarah McLachlan. ‘The One’ is an uptown take on the 1980s, its warm orchestration reminiscent of Modern English’s ‘Melt With You’, while both ‘Falling’ and ‘Too Late’ share a lite feminine swagger. The only true misdirection lies in Wendy Melvoin’s sometimes overcompensating production. The droning guitars and faded drums don’t mix well with Z Berg’s soft soprano, and as a result, many of the songs never gain momentum; in particular, album closer ‘Waves That Never Break’ and ‘(So I’ll Sit Here) Waiting’ seem to stop before they start. The music itself is not bad; it is simply presented in a less than ideal way.
Ultimately, both the album and The Like themselves come off as a bit average, but unlike many pop acts today they have talent and are never disingenuous in their music. Factor in their youth and the fact that most bands never nail their sound on their debut, and Are You Thinking What I’m Thinking? is more a step in the right direction than a defining moment in The Like’s career. Perhaps one day they will make the shift from eye candy to ear candy, and make music that allows them to step outside the shadows of their famous fathers.
Aaron Alper
originally published December 19th, 2005
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The Like
Live at Camden Barfly ••••
March 8th, 2006
It is midday on a Sunday and three young women are standing on a street corner in Camden Town. Wrapped up against the March chill, they could be any late teens/early twenties trio, and the fact that they haven’t seen a bed to lie in in over 24 hours is not so odd for their generation. However, the fact that only six or so hours ago they were stood on a street corner in Paris not entirely unlike this one is. Freshly Eurostarred back from playing at a fashion show, The Like are about to do an afternoon show at Camden’s Barfly, part of a bewilderingly heavy itinerary to purportedly break them in the UK. Either that or break them full stop.
Not that they are whinging about it. Later, Tennessee Thomas is proud to display her drumstick blistered hands to anyone who wishes to be appalled by the mess they’re in, while Charlotte Froom is endlessly enthusiastic and slips easily into her coolest-personto-ever-pick-up-a-bass poses within an instant of arriving onstage. Straight after the set, she just as happily works the merchandising stall – “We sell more t-shirts if the girls do it themselves” explains their affable tour manager. Z Berg also shrugs off the crazy pace with the detachment of a dreamer who has written songs in her teens that many so-called mature writers would find hard to match in terms of their remarkable depth and passion.
A few days earlier at Nottingham’s Rock City, a throng of fans cheered, screamed and sang every word of ‘Too Late’, while The Ramones-meets-The Cure hybrid of ‘What I Say & What I Mean’ was greeted as if it were already a greatest hit. The stream of interviews, the TV shows they barely know the names of, the mad yo-yoing back and forth to London are all about this moment where The Like are, as an entity, a perfect, classic indie pop-rock trio with a masterful grasp of the epic and the intimate, often within the same song as is superbly displayed in ‘You Bring Me Down’ and ‘(So I’ll Sit Here) Waiting’.
In London, there is a sense of exposure in daylight for both the band and their audience, creating a true dramatic tension and blurring of the line between performer and listener; the venue is rammed to the edge of the curved stage. As Froom’s basslines bop over Thomas’s relentless beat, the finest swirls of shoegaze guitar since Lush emit from Berg’s twin Orange amps. Already overtired, Z has an uphill struggle to keep her voice, but one has to marvel at the sheer grit of her performance as she lives out every raw emotion threaded through her lyrics.
Coming just at a time when the UK rock scene is all laddish boys-will-be-boys predicting a riot in the takeaway kebab house, The Like are surely the band that many have been waiting for; one with a pure, warm sound that goes straight for the heart. After today, they face another week of touring the country before heading back to Los Angeles for just one day off, then flying off again for an industry showcase in triplicate at SXSW in Austin. Both loving and laughing at it, The Like uncomplainingly thrive on the pace. And that pace will surely only increase as their message gets across to more and more potential fans.
Kevin Hewick
originally published March 18th, 2006
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Lisa Li-Lund & Friends
Li-Lund Ran Away ••••
Smoking Gun
Lisa Li-Lund likes panda bears, wants to sleep with Mick Jagger as he was roughly 20 years ago and lives in a fantasy world somewhere between Paris, NYC and Scandinavia. What’s more, she is little sister to the two hairy men of the amazing Herman Düne, which, after hearing her first proper solo effort, you would instantly be able to tell. Written by a long-time hip-hop fan on a cute little Casio, this surely essential latest chapter in the somewhat incestual, and therefore obviously influential, antifolk movement was recorded in one week, a raw testament to the real creative talent of someone who would at first appear to be a quirky, whimsical songwriter (though those are two words that Li-Lund would probably never want to be associated with).
It all makes for a meaningful and surprisingly deep collection of songs. Childlike and innocent on the surface, yet, in places, brooding with angry femininity and emotion, Li-Lund’s sweet and soothing vocals are wonderfully complimented by minimalist instrumentation. Incredibly effortless, mind-bogglingly spontaneous, the songs flit between the playful romps of The Moldy Peaches, the sloppy DIY riot-grrl phenomenon and the dark edge of The Breeders or PJ Harvey without the Dorset accent. Then there’s the constant of her European charm and distinct sense of mystery. Each of Li-Lund’s stories is a unique glimpse into a magical land filled with pigs the size of your finger and miniature rabbits, as she first laments and then joins in the party. And if that’s not bizarre or wonderful enough to tempt you to give her a chance, tune in simply to hear Herman Düne’s Neman howling at the moon dramatically in the distance.
That said, although the fanciful stuff is hugely appealing the most stunning tracks are the more mature, spine- tingling lullabies of resignation, particularly ‘Drop My Tears’ and the haunting Emmet Kelly collaboration on traditional number ‘All My Trials’. It‘s a tragically gorgeous end to an album that bravely spans the yearning to the erratic to the downright daft, the best thing about it being that it fits into so many genres but, at the same time, not fitting in at all. Simply put, Li-Lund Ran Away is absolutely too cool for school. I dare you not to fall in love with it.
Anna Claxton
originally published September 17th, 2006
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Rachel Lipson
Pastures ••••
Mecicco
The reasons why most singer-songwriters would balk at and rail against the adjective ‘sweet’ appear to be self-evident. The term seems almost a nullification of having something to say, a catch-all for the mild, meek and soon forgettable. Then, as with every rule, an exception sometimes happens along, twirling fancy free and twee beyond belief but utterly astute and devastatingly relevant. Rachel Lipson is one such exception, coming on like an amalgam of Kimya Dawson, Rosie Thomas and shades of Suzanne Vega. The sheer simplicity of her laconic, almost deadpan enunciation is the stuff that either steals your heart or sends you running feeling too pure back to The Teaches Of Peaches. But graze awhile in Lipson’s quiet acres and you’ll find the lectures of Pastures equally appealing. With a finely detailed wisdom that never trips the homily detector, Lipson’s minutiae are everyone’s minutiae, but told with a worldview that’s all her own.
Whether on the seemingly George “God made me do it” Bush-bashing ‘A Blessing’ or the advisory ‘Oh Little Sister’, she is constantly disarming and aware. But Pastures works best when Lipson deals in heartbreak, the triptych of ‘What Won’t Wait For You’, ‘I’ve Sat At The Table’ and ‘He Knows The Way To The Golden Road’ providing an exquisite lesson in the dispassionate delivery of a raw and deeply-felt subject. Cropping up on the first of these songs and again on ‘The End Of The Summer’ is David Herman Düne, to all intents and purposes antifolk royalty, chiming in with gorgeous ukulele and perfectly imperfect, tender harmonies. Also adding his voice and credibility is good friend Jeffrey Lewis, who shared the album’s only co-writing credit for the childlike duet, ‘The Eagle’. It’s followed by the heartwarming, home-recorded album closer, ‘Will They Remember Your Name’, on which Lipson lapses into fits of giggles while trying to get some children singing a round.
While it’s true that Lipson’s vocals are a little one-trick pony and that it simply wouldn’t work if the music itself were more convoluted, the overwhelming innocence inspires. As a snapshot of a deceptively rich, modern fable-teller, Pastures really works. Definitely one to watch then, she may put Cadbury out of business yet.
Alan Pedder
originally published December 5th, 2005
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Lisa Loeb
The Very Best Of •••
Hip-O
Twelve years ago, a little known unsigned singer-songwriter from Dallas redefined what it means to hit the ground running. A rogue release from the ‘Reality Bites’ soundtrack, her debut single ‘Stay (I Missed You)’ took off entirely on its own merits, its unadulterated pop archetype and Loeb’s girl next door persona striking a chord with radio listeners and propelling her to the summit of the Billboard Top 100 and peaking at #6 in the UK. Of course, a sparse video directed by ‘Reality Bites’ star Ethan Hawke didn’t harm its chances, and Loeb was quickly signed to Geffen Records soon after. Her debut album Tails was released the following autumn and quickly went platinum. Although her songwriting has never quite achieved the same tenacity as it did on ‘Stay’, Loeb’s skills as a pop singer-songwriter are unmitigated and this career retrospective offers a good mix, albeit with some bias towards her earlier years; 12 of the 18 selections originate from the first two of her four releases. Sadly, there’s nothing from Catch The Moon, her entertaining album of music aimed at children.
Loeb is best when she tackles darker material, such as ‘Sandalwood’s stark declarations of obsession, the mournful ‘How’ and the relationship autopsy of ‘Do You Sleep?’, which by all rights should have equalled the success of ‘Stay’. Her lighter material, such as the minor Stateside hits ‘I Do’ and ‘Let’s Forget About It’ and the reggae-lite ‘All Day’ – Loeb’s contribution to 1998’s ‘The Rugrats Movie’, in which she also provided the voice of a newborn baby – manage to hit the marks they should despite being a little less majestic. It’s a credit to her likeability and craft that songs like ‘Bring Me Up’ would come off on the wrong side of tame if placed in the hands of almost any other artist, while Loeb’s sweet vocals and nebbish lyrical honesty elevate the song above the dreaded MOR mark.
In fact, what is apparent in each of these songs is that Loeb’s personable nature and unflinching truth-telling, even when looming in the face of cliché, has given her a kind of staying power that’s wholly of her own making and not a commercial commodity. But while she may finally be showing signs of some questionable decision-making see her reality dating programme ‘#1 Single’ that recently aired in the States and is represented here with the passable theme tune ‘Single Me Out’ – the only new song included – Loeb’s integrity as a solid pop musician remains untarnished and The Very Best Of showcases both her and her catalogue as an underappreciated but smiling success.
Aaron Alper
originally published March 21st, 2006
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The Long Blondes
Live at UEA, Norwich ••••
May 18th, 2006
With a little help from Rough Trade, The Long Blondes have recently blossomed from Britain’s best unsigned band to Britain’s best signed band and are finally able to give up the day jobs and start touring the length of the country, spreading their perfect escapist pop. Having won the Philip Hall Radar award for new bands at February’s NME ceremony awards (and been the only band with a single female, let alone three, to win an award), The Long Blondes have been waiting in the wings for long enough. They were subsequently invited to open up the NME New Music Tour while three identikit emo indie bands secured the more coveted later slots, but you’ve gotta start somewhere, right?
Daylight was still shining through the upper windows as The Long Blondes elegantly took to the stage in the University of East Anglia’s gym-like student union. Their quirky, secondhand glamour rested uneasily in the cavernous setting, the MySpace teens who comprised the sell-out crowd still blathering away. But as the opening bars of single ‘Appropriation (By Any Other Name)’ chimed out and singer Kate Jackson started her now trademark stilettos-and-drainpipes angular shimmy, the crowd were transfixed. During their half-hour set, the band churned out would-be-hit after would-be-hit and many of their strongest songs didn’t even get aired in a performance that should leave any band three albums into their career feeling more than slightly insecure. They embody the escapist songwriting spirit of Burt Bacharach mixed with the British realism of Pulp and the classic dancefloor/rock club versatility of Blondie, and they’re prolific at it too.
They played three new songs, all of which received the same excited response as by-now cult classics like ‘Separated By Motorways’ and ‘Once & Never Again’, most notably the new B-side, ‘You Could Have Both’, which features a spoken-word breakdown between Dorian and Kate detailing the post-university crisis that hits us twentysomethings so hard, admitting “I’ve only got a job so I don’t disappoint my mother” before chanting “What about us?”. The crowd may not yet have taken their AS-level exams, but the universality of The Long Blondes’s themes, clever lyrics and classic tunes ensure that their appeal is widespread.
It’s the penultimate song, ‘Giddy Stratospheres’, that best sums up what The Long Blondes are about; it’s an epic 4:54, but so completely perfect you’ll wish it wouldn’t end. With its soaring choruses and Shangri-la-esque chants from guitarist Emma and bassist Reenie, the song has a certain snotty charm and a middle-eight so yummy you won’t know whether to laugh or cry. As they walk off-stage 30 minutes after their humble entrance, they can sleep soundly in the knowledge that they have once again shown the boys that their hegemony won’t last forever.
Robbie de Santos
originally published July 23rd, 2006
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