Record Reviews
Adventures in Stereo
Alternative Stereo Sounds
Creeping Bent. bent 030cd.
by Keith McLachlan.
As much as I would love to star in
another round of controversy between the participants in the AIS soap
opera, I think perhaps I will leave my idealogical and political
commentary within the realm of my small social circle (which consists of
myself and my dog). So I will try something novel and simply discuss the
music on display here.
"All songs composed, arranged, written and produced by James Beattie" is clearly stamped in two places on my cd. Obviously he is trying to make sure the distractions of the past are not repeated and I think perhaps he has emboldened his presence because he has right to be very proud of what he has produced here.
At first I was slightly distressed that the intimacy of the melodies on the blue lp had been replaced with the more conventional rock'n'roll band sound but I quickly overcame that initial disappointment especially when song 4 titled 'I Once Knew' shows up as the perfect combination of Brian Wilson pop heroics and Phil Spector 'wall of sound' production. Everything here is deeply rooted in the early 60s mindset but is competent enough to stand up as a worthy effort of colleagues rather than a tribute record. Judith Boyle's voice is striking in its clarity - even while she is singing less than inspired lyrics she seems to hang every note snugly on the pop hooks provided by Jim.
18 songs here and most are less than 2 minutes in duration but I am beginning to believe this is optimal; eliminate the buildup and simply capture the listener's heart right from the start and when they are hooked throw them another bit of ear candy to get them hopelessly addicted. Simply fantastic.
Sweet William
"Dutch Mother" 7"
Matinee. #1.
by James Feagin.
You can buy one from Twee Kitten.
Objectively speaking, this is the
best record I have heard in the past two years. Perhaps it is the
Morrissey-esque vocals, the subtle, yet infectious electronic beats. The
predecessor to the equally essential "Ambiguous" cd-ep on Twee Kitten,
"Dutch Mother" is a shining moment in a pop world filled with monotonous
records. Upon first listen, the title-track reminds me of the Smiths "This
Charming Man" in both lyrical and songwriting capacities.
There is plenty of jangle and hum n' strum guitar on this record, a direct Johnny Marr influence is easily heard. "A Map of the World" sweetly explores the world of a young recluse who has had their heart broken. While "I Left Mine Behind" is the perfect record for the Sarah Records aficionado. Lyrically brilliant, ingeniously orchestrated, and masterfully performed. Adelaide, Australia's Sweet William is headed towards a promising future. Heading in a direction that will lead them to be compared with OZ's other countless legends. The Smiths, Field Mice, Sugargliders- Sweet William draws on all of these sources to create a record that will stand the test of time. A magnificent moment that will hopefully only spell the beginning of James Tassos' blooming pop empire, Matinee Records.
Pram
North Pole Radio Station
Wurlitzer Jukebox/Domino. wigcd49
This lp has been through the
rigours. I have popped it in my tape deck on the early (5.30am) drive to
work and well it worked wonders on getting me off to a fantastic start. I
have played it on the rush hour drive home and well it magically
transported me away from the putz's that surrounded me, all clad in trendy
SUVs, and into a nice little fairyland. I have tried it late at night
while lying in bed thinking of the universe and Yanni's position in it and
well I was not frightened. I have painted (latex over oil in the bathroom
even) while listening to this. I have written poetry that almost made
sense while the tones of 'North Pole Radio Station' wafted through my
nostrils, and my conclusion? This is the record for all occassions.
If perhaps Pram were a bit too out there for the July 4th picnic in the past well I am here to tell you they are still out there but your family needs to get a clue so blast this record over the illegal fireworks display, play it during the holidays, play it for the nascent fetus in a womb. This record could probably cure cancer as well. But don't quote me on that one, we saw how James Watson had egg on his face - but no tangents.
Basically this is the sunny Pram record, if such a thing can exist, more casio type blips and keys, less Rosie (grrrrrrrrrr!!!!) as four of the songs (only one of which really needed help from a little Rosie verse) are instrumentals and probably the perfect amount of that horn that sometimes sounds a bit too intrusive (see James 'Seven'). 'Omnichord' shows up again, slightly altered but still magnificent and 'Cinnabar' (b-side of the last single) appears but this time with vocals-woo hoo!!!
Every song is perfect with perhaps the one exception being 'Bathysphere' which I guess serves as some sort of intermission from the heaviness. This is the greatest band on earth so to say you need this record is kinda redundant.
Arnold
Hillside
Columbia. csk41121.
by Keith McLachlan.
Cool! I feel like a real reviewer
as I have this lp nearly a full two months before it is released here in
the US and I only paid less than the cost of the sunday paper to get it.
So maybe my good luck has tainted my opinion? Maybe, but this record is
pretty darn good and considering it is on Creation (where all the hyped
bands stink while the good ones twist in the wind) and Arnold is tabbed
the next big thing, well, that was a shock.
It is all quiet (well except for two or three songs) and acousticey and eclectic and filled with lovely singing and restraint. Sorta like the real quiet moments of Radiohead mixed with a little Elliot Smith action. I might say I prefer it over Elliot Smith in fact but it is not nearly as refined as Radiohead.
14 official songs plus a nice one tacked on at the end as a hidden untitled track. The first single 'Fleas Don't Fly', which is probably where the Joy Division comparison comes from although I think that is a stretch, is particularly swoony but the whole lp tastes a lot like chicken without the carcinogens.
Verlaines
Over The Moon
Columbia. 486880.2
by Keith McLachlan.
To say it is criminal how Graeme
Downes, resident god in the Verlaines, has been overlooked over the 15 or
so years of his recording career is probably criminal for being such an
understatement. Where else but on Verlaines records could you find such
literate poetic lyrics, perfectly structured tunes (thanks to a PHD in
musicology) and caustic, dripping passion in every chorus? Nowhere!
This is the 6th Verlaines lp and the best the band has come up with in the 90s. All Verlaines lps have sort of had a different palette, the folk lp, the rokk lp, the dramatic lp, the garage lp, well this one would have to be tagged the pop lp as it is smoother in spots than their records have been in the past and really easy to sing along to without coughing up a lung trying to match Graeme's intensity.
'Reasons for Leaving' is not only the best song here but one of the best in their history. 'Perfect Day' is not so humbly perfect and 'Feather Fell' is just sublime with Graeme's trademark acerbic rants towards the loves of his life. The professor has done it again :o).
the Push Kings
Far Places
Sealed Fate. sfr-007
by Keith McLachlan.
They really do want you to forget
the music, the scenesters that is, cause they all seem to disapprove of
the Push Kings not because of their music, that would be a legitimate
gripe, but apparently because one of the members of the band is a little
difficult to get along with.
Well the cliqueys are pretty lame as the Push Kings are really one of the most fantastic American indie bands out there. Why? Cause they possess two things that most bands lack in singularity, and that is two voices that can carry tunes into perpetuity. The Moore-Gerety brothers are both extremely skilled in delivery of their sunny blend of new wave/white boy r&b/mccartneyesque pop.
This is the second Push Kings lp and I have to say it is much much better than the first and I loved that lp but that glowing review never quite made it to these hallowed pages. The depth of sounds and range of textures here is advanced greatly with addition of some background scratching (minor inclusion actually sounds like they are big fans of Hanson and well that is a good thing) some funky keyboards and their voices continually hover just above it all and sound perfect, crystalline and precious.
So don't let petty people dissuade you. Songs like 'Sunday on the Westside' and the aching 'Shadows of San Francisco' are about as perfect as pop gets and really you know that most of those kids on the indie pop list are dorks anyhow. I know, i know, it takes one to know one and all that but if you wanna dance and get jiggy and have a good time while listening to music you could pick far worse than the Push Kings. But then it could be that i am just jealous of all the kids.
Alastair Galbraith
Mirrorwork
Emperor Jones. ej22cd
by Keith McLachlan.
Another album composed of very
many short songs rather than a few long drawn out 'epics'. This is the
sound of creation as it seems to me this is the sound inside Alastair's
mystical mind we are hearing. Scraping violins, backwards guitars,
offbeat poetry and wispy whispers make up a record that is simply the
essence of beauty.
Some may lament the lack of song structure on display here, but then they would have missed the primacy of it all. Alastair is possessor of both some weird sort of naivety and an eternal wisdom of the soul, arty without pretense he constructs his songs by sound and feeling, well so I imagine. He might be into some sort of abstract musique concrete baloney but I don't see that.
As a live performer you almost don't know Alastair is there and on record the effect is maintained, he is simply the transcriber as if the music is brought down from a higher plane. Imagine Nick Drake if his acoustic guitar were melted down and rebuilt to create a machine that churns out melodies a bit more unfocused but just as emotive.
Gerbils
Are You Sleepy
Hidden Agenda. aha006
by Keith McLachlan.
So far the Elephant 6 second
string has not threatened to take the starting positions away from any of
the principals. Beulah is bland. Secret Square is trippy but not catchy.
Only the Minders seem capable of breaking into
the bigs but they have only unleashed three singles so far.
Here come the Gerbils then. Their day jobs are to back up Neutral Milk Hotel in concert but on weekends and holidays they muster up some pretty so-so to good pop tunes.
First off, if you have the two singles that were released prior to this lp then well you might not need to invest any more of your funds cause well those songs represent the strongest tracks on the album. The non-single tracks tend to meander for days, be less tuneful and kinda bring the whole lp down to the rank of mediocre. But the singles like 'Is She Fiona' and 'Crayon Box' are like Neutral Milk Hotel mixed with the Apples in Stereo- poppy but also demented.
The first 6 songs breeze by and make you all cozy then the lamentable middle section turns the mood to quicksand and just as you are about to succumb, a few catchy numbers, again from the singles, appear and you leave the room smiling. If you don't have the singles this is a good deal, if you have the two singles well then this is not really necessary.
Majestic 12
"Nothing on TV" 7"
Shelflife. Life-002.
by James Feagin.
You can buy one from Twee Kitten.
Shelflife Records of Brooklyn, New
York never succumbed to the dread Sophomore slump. Following the essential
"Whirl-Wheels" compilation seems to be a daunting task. However, Ed and
Shelflife crew were up to the challenge, releasing an amazing debut for
pop fans the world over. Enter Majestic 12, a charming quartet from
Fullerton, California who incorporate seemingly all aspects of the pop
genre, yet never compromising their unique ability. "Nothing on TV" chimes
with beautiful male/female vox, complete with sweet melodies, alluring
lyrics, and the texture that will make the most stouthearted cynic blush.
Obsessed with the soft and pleased with the ethereal, "Hollow" is that perfect tune for driving in the countryside at 3 AM. "Closer" follows with a warm and introspective appeal that absorbs the listener. Upon first listen, one can tell Majestic 12 are sleepy-eyed shoegazers with an identity crisis, and that is their charm. Falling in love with a record is quite difficult, especially when it does not contain the hooks that the conventional twee record is supposed to have. However, Majestic 12 allures through their unique approach, and amazing incorporation of all that is good with independent music.
Gorky's Zygotic Mynci
"Sweet Johnny"
Fontana. gzmcd4
by Keith McLachlan.
This is a bit of a letdown, not
really bad, but kinda average. The title track is a bit of a rocker. For
GZM it is a rocker for others merely an exercise in toe-tapping, and it is
not all that interesting. I would not be displeased if this were left off
of the upcoming LP. The b-sides are a little better. 'Un Hogyn Trist, Un
Hogan Drist' has the melancholic, medieval feel of the last lp and 'Nifi
Mihafan' is a superior, arty instrumental written by Megan Childs (woo
hoo!). So it is not bad, just not as good as I had hoped for. Maybe they
are saving the top stuff for the new record. Let us wish it so.return to the twee kitten 'zine.