mbition, soundwise, though much of it is not so much lo-fi as no-fi. Quite a few of the tracks on this album are very good, but over the course of fifty minutes, even after several listens I’ve still found it a bit much to take all in one sitting.
However, for my money, if nothing else you should make sure that you hear and buy the really rather fine penultimate track on the album ‘Something.’ It’s absolutely beautiful, in pretty much everything, and a spectacularly cool way to have your heart broken by a song.
***
This Is What’s Left Over From Nothing That’s Happened is out now on Motive Sounds
Another example of a tune I have picked up on as a result of that very old-fashioned method of finding out about new music, otherwise known as hearing about it on the radio.
This got played
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on Mary Ann Hobbs’ Breakfast Show on 6Music this morning. Even the lady herself admitted
that details about the band were fairly scarce, but this much I can tell you (and you could probably find out for your good selves with not much time spent using Google).
They originally hai
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l from Kendal in Cumbria (where Mrs. 17 Seconds also comes from) and are now based in London. They
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are a four piece, who formed in 2011. The band consists of siblings Fiona Jane (vocals) and William (guitar), along with Nick (bass) and Josh (keyboards). Their song’ Our Love Has No Rhythm’ is utterly lovely. They are supposed to be releasing a new 12″ single on Parlour Records this year.
Supposedly you can downlaod the single for free…I’m still trying to figure out how to do that…but I would happily buy it. You should, too.
For my money, the two tracks from that EP that reappear here (‘Body Mass Index’ and ‘Overpriced’) are the strongest here, though I’ve got a soft spot for album opener ‘SPMG’ too. Rather like fellow Scots We Are The Physics, there’s a quirk
Several listens in, I have to say that I would be lying if I said that I was in love with the whole album. But there are some excellent tracks on offer here, and there are far worse ways of spending thirty-five minutes.
***1/2
The Road To Ugly is released by Armellodie on January 28.
Widely recognised by many as her greatest album -including the lady herself -this deluxe edition of Broken English reaffirms why it’s such a highly regarded album, as well as having a second disc of original mixes which actually genuinely illuminate the final album, rather than just feeling that they are tacked on.
If Faithfull had been known in the 60s for being the singer of ‘As Tear
s Go By,’ and Mick Jagger’s girlfriend, then by 1979, things had changed. She had spent time homeless, lost custody of her son and was still battling heroin addiction. Her voice is deeper, cracked and raw on this album, and yet utterly compelling. Faithfull is a woman who has seen a lot, but even when she’s bitter and angry, as she is for much of this album, in keeping with the punk and reggae influences of era that seep onto the record.
The title track oozes with cold war paranoia -and the second CD shows that it is scaled down from the original mix that was planned. Dedicated to Ulrike Meinhof, the co-founder of the Red Army Faction who’d died three years previously, the song was not an exoneration of Meinhof but a realisation, that there but for the grace of God went she. Her covers of Lennon’s ‘Worki
The final track ‘Why’d Ya Do It’ remains one of the most angry songs ever committed to vinyl. (Do not read the rest of this review if you are offended by bad language). As rages at a lover go ‘Every time I see your dick I see her cunt in my bed’ things do not get much more outraged than that. (Astonishingly it was the Antipodeans who seemed most shocked.) Reportedly,
It’d be daft to say that Mogwai are back, as it’s barely been a couple of months since their remix album A Wrenched Virile Law, but as far as this blogger is concerned, if there’s a new release involving Mogwai, it is rig
As the press release has it: ‘If Mogwai’s decision to create the score to Canal+ supernatural thriller series Les Revenants (meaning ‘Ghosts’) came a little out of leftfield, then what they’ve come up with for the French television network probably wrong-footed even those that gave them the brief.
A quick background to Les Revenants: adapted from the eponymous Robin Campillo-directed 2004 film, the series unfolds in an isolated French mountain town, where the locals are troubled after children who were tragically killed in a bus crash appear to
come back to life, unaware that they’d died. A wonderfully captured perennial sense of unease and limbo sustains throughout each episode, with dully lit scenes and a sparsely-set location adding to the atmosphere. “We were actually big fans of the director Fabrice Gobert’s film Simon Werner a disparu, which had a soundtrack by Sonic Youth,” comments Mogwai’s Stuart Braithwaite of their decision to take the project, “and we found the story for Les Revenants incredibly interesting.”
The band was approached on the basis of their phenomenal work for the Douglas Gordon documentary ‘Zidane: A 21st Century Portrait’. Much like on that Zidane soundtrack, the group have turned away again from their recognised path towards the fascinating new; their familiar layers on layers of textural guitar have been stripped away, allowing isolated piano and keys to wander with grip-like tension through the fourteen tracks. There’s something intangibly Mogwai here still, but it’s bee
I love their Zidane soundtrack, and I also love the Sonic Youth soundtrack so am thrilled to bits about this.
What I am slightly puzzled by is the fact that it is being advertised as being out on February 25 -but you can pay for a download of it off eMusic or iTunes (remember to support your local independent record shop though, eh?) and apparently came out in December? No matter. It’s Mogwai. Go get it. Chop Chop.
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It’s now over a decade sin
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ce Black Rebel Motorcycle Club’s debut album B.R.M.C. announced their arrival. I saw them many times over the last decade, marvelling at their incendiary live performances at many of Edinburgh and (mostly) Glasgow’s top venues. Their first album remains my favourite, though, and their forthcoming seventh album,
Specter At The Feast, reprotedly uses this as a reference point for the new album.
The first track to do the rounds is ‘Let The Day Begin.’ It’s a cover of a 1989 single by The Call. Michael Been of The Call, who was also BRMC’s guitarist and vocalist Robert Been’s father and was viewed as an honorary ‘fourth member’ of the band died in
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August 2012. I have to confess to not really being that familiar with The Call, but BRMC make this song their own.
This is The Call’s version of the song:
The band are also on tour in the UK with support from The Big Pink on all dates (except Leeds):
Another night trying to get to grips with all the submissions in my inbox.
The Chapman Family stood out with their song ‘Adult’, they’d made a track (from their forthcoming album, scheduled for the autumn) that makes me want to dance aroun
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d the room playing air guitar, irrespective of me being in my mid-thirties.
This reminds me of the late Fatima Mansions, loud and
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articulate. Turn it up. This is a free download – but I’d be happy to be buy it. Certain sources would tell us guitar music is back. The Chapman Family sound like they don’t care whether it’s in or not this week, that they have to make this music.
Alasdair Roberts & Friends -‘A Wonder Working Stone.’ (Drag City)
Scottish singer-songwriter Alasdair Roberts may be viewed (erroneously) as a somewhat funereal folkie, but by and large, his latest album is quite an uplifting affair. He very much works in a folk tradition, and it’s fair to say that whilst there are no shortages of artists north of the border who produce music that is indebted to folk traditions, his music has far more in common with artists like Kate Rusby, Karine Polwart and Eliza Carthy, say, than many members of the Fence Collective. This is folk music, not folk rock, or God helps us, ‘folk-tronica.’
He writes his own material as well as drawing upon traditional songs, and that is what adds strength to this collection of songs, that he understands the strengths of the tradit
ing. He avoids sounding twee-and reigns himself in whenever there is a danger of slipping into folk pastiche, which threatens to happen on album opener ‘The Merry Wake’ but thankfully doesn’t. His guitar work is as evocative as his lyrics, and if at first I wasn’t so sure if I got this record, it unfolds its charms with every listen.
Indeed, a wonder.
****
A Wonder Working Stone is released on Drag City on January 21.
to review the rudimentary blueprints of songs that had never made it beyond a few live performances in 1979 and 1980 – a time when the band-members were in creative overdrive yet th
e band itself was disintegrating. The aim wasn’t simply to resuscitate and record old songs; in fact, many of them hadn’t become proper songs in the first place, existing only as basic ideas or undeveloped parts. Rather, the objective was to approach that unrealized work as an oblique strategy, a potential springboard for Wire’s contemporary, forward-looking processes – a possible point of departure for new compositions.
th Wire firing on all cylinders, as a four-piece studio entity again, the core line-up of Newman, Graham Lewis and Robert Grey now enhanced by guitarist Matthew Simms. Simms had played a key role in helping the band to cultivate and shape its new sonic landscape throughout the preceding year’s live work. Out of the exploratory Rockfield session and subsequent, extensive development and production at Newman’s Swim Studio, the ostensible source material became, in the classic Wire tradition, something quite ot
