Missive 56
07-03-2005
Singled Out – Missive 56

Dedicated as always to Kelly and Mark

‘Singled Out** – no ego, no kiss arsing, no favouritism and no corporate back-handers – just honest to good wholesome badly written ramblings’.

We really have been good to you lot these particular musings representing five missives in one week, just where do we dig these records from you might ask, well I’d have to be brutally honest and say that I feel most humbled and particularly honoured to get to hear these little nuggets that constantly arrived through the old Losing Today letter box, even more so when we get the most complimentary emails in return which kinda make us glow with a sense of inner pride – special mentions here going to the lads at Fat Cat, Matinee, Akoustik Anarkhy and Trash Aesthetics (who have just put out the Tailors debut single which by rights should have residence in your listening space) to name just four – much appreciated and to which all I can say in response is that you keep the high quality releases coming.

Okay a few little minor points we omitted to tell you last time out – The Jim Muir Slideshow whose recent 4 track EP ‘Popular Art’ which has been driving us doolally of late have a pretty dinky download of ‘The Ballad of Sharon and Tracy’ from their debut (and now long gone) EP – just go to http://www.jimmuirslideshow.com/listen.asp

Furthermore frequent viewers of these pages may well recall our often mention of a killer 7” from the late 90’s by a band called Crest which appeared on the near legendary Norwich based label Noisebox. Well it seems that Matt from the band now has a new project called Cortez who are currently about the land gigging (and no doubt blowing audiences away). There’s a single kicking around somewhere produced by Owen from those nice people at Magoo which once we track down will get the usual Singled Out treatment, for now though go to www.cortezrock.co.uk for further info.

The Shallow Call, many of you may remember from a Missive or two ago featured as they were by their colossal ‘A dark ballad in three parts’ (self released), have just returned from a support slot for the Paddingtons and been confirmed as openers for both the very excellent Soledad Brothers and 50 ft wave (Kirsten Hirsch’s new outfit) as well as being invited to appear on a special High Voltage extravaganza – the same package that made the public at large aware of the Nine Black Alps and Longcut. As to the record we’ve been advised that there are very limited numbers still available – all we can say is record lovers and labels alike sit up and take note this lot are gonna be huge. www.theshallowcall.com

Okay I think that’s enough of the pre-review rambling other than to remind you good people that my address has changed – its now – 105 Shaldon Drive, Morden, Surrey, SM4 4BQ, UK – technically anything sent to the old address should be re-directed – but this being Royal Mail we have recently been made aware of parcels / packages going amiss. If you have sent stuff and haven’t heard from me then best drop a line. As to the albums – many apologies – the singles have taken front seat but rest assured the machinery is being put in place to chip away at the CD mountain, all releases will be reviewed (honest – though we may have a special missive covering the pre Xmas / move backlog in the near future). On the subject of albums – the current releases raising our temperature –

The Cranebuilders – Sometimes you hear through someone else
The House of Love – Days run away
Fireworks Night – it’s a wide, wide sea
The Suicidal Birds – Z –list
Nurse with Wound – Angry Electric Finger series
Melys – Life’s too short
Neon Sleep – Endormi et rever
Angil – Teaser for Matter

Obviously there’s so much more – but there the ones that have been invading our immediate head space along with, and really we should be saying this – more crucial releases from the Secretly Canadian and Jagjaguwar stable than we know what to do with – safe to say reviews very imminent.



Despite previous advertisements this missive is slightly slimmed a little, didn’t want to give you too much of a good thing was out thinking – so that everything we promised last time out that doesn’t miraculously appear this time in (am I making sense? – of course not – then fine) will feature next time which for those of you worried into thinking that, what with this being the fifth missive in as many days, that I might abscond for a few months – well think again yea of little faith – next Singled Out will land at the nearest PC to you by the end of the week and will feature in addition to the list already promised something by Futureheads, Johnny Poindexter, Repoman, Birdpen, the House of Love and more besides.

Okay we open this particular missive with a release we promised glowing words for last time out….

Konono No 1 / The Dead C ‘Split’ (Fat Cat). The second quick fire addition to the excellent split series from Fat Cat following hot on the heels of the gem like Chris Smith / The Ivy Tree release (see Missive 55). This particular showing is perhaps the most indicative of all the series head on bouts as it features two ensembles who, on paper, are as polar extreme as you could ever wish to imagine, yet scratch a little deeper and the apparent divide between the two may not be as wide as first thought. Congolese collective Konono No 1 are represented by two killer cuts that may in time see them serving to take what passes for world music out of the trendy chin stroking domain and into the cultish vanguard of the avant garde. For twenty five years Konono No 1 have plied their trade as heady exponents of ‘tradi-modern’ (electrified traditional music), the brace of cuts here are awash with the native bush sounds being bent and buckled to the sound of the metropolis, best described by the title of their album ‘Congotronics’ (via Crammed Discs from which they are taken). ‘Lufuala Ndonga’ is a simmering brew of frantic time signatures and unusual jerk like structures, the usual trademark jangle happy riffs (a la Four Brothers et al) replaced by a constantly buzzing and shifting wall of rhythm that though incorporating richly a trance like demeanour still manage to beam warmly with the array of chants and whistles jostling in the background. ‘Masikulu’ perhaps pinpoints where Konono No 1 are at in terms of melodic progression – stuttering rhythms forcefully marinate with a more stripped down approach to give the overall composition an oddly off centre carnival-esque vibe which will have you being forgiven for thinking that it had been deliberately written backwards with the aim to appear disjointed, amazing stuff all said and done. Flip the disc over for an ensemble who rarely manage to see out a mention without the words ‘cult’ or ‘legend’ following in hot pursuit. Formed in the late 80’s Dead C have arguably surpassed the usual worldly status afforded to lesser bands, instead recognised as one of the modern eras progenitors of out there improvisation – hell even Sonic Youth swoon at their mere mention and that alone is all the recommendation you’ll ever really need. Let’s put things into perspective here – if you are expecting an easy ride then kindly move on elsewhere – this is anything but easy, safe to say they aren’t known for their kiddie friendly pop treatments, Dead C are the equivalent of a sonic slaughter house at their most riled and a head popping spectacle at their most becalmed. This release features 8 cuts – five of which (sadly not available on our pre-tease promo) form a locked groove, two live offerings and a fairly rare to hear vocal track. To listen to Dead C is to witness the sound of freeform sonic terrorism eking painfully from the sound system, detuned twanging guitars unfurl their macabre unease to flood the spaces between the grooves with a heavy hanging ardour that rumbles icily from moments of wretchedness to in the blink of an eye something hot wired with distorted viciousness. Through the seeming chaos Dead C adhere to a regimented order that hangs loosely and perilously by the finger tips, incorporating drone collages and growling guitars ‘7’ is caustic and unloving, bathed in a sheen of curdling white noise that howls ominously with the sound of someone doing a spot of household DIY in the background with a power drill while ‘8’ drowned in a haze of mutant free noise needs to be heard to be believed. File under total noise experience, essential of course. www.fat-cat.co.uk

Camera ‘Hurt’ (My Kung Fu). Another of those long thought lost nuggets recently found gathering copious amounts of dust in the Singled Out listening shed, how did we miss it we ask ourselves. From the label that brought us the absolutely oddball genius of the Soft Hearted Scientists and the colossal wide screen atmospherics of Mountain Men Anonymous now comes a group of kids with stinging guitars and a bruising bag of melodies to match. Camera hail from North Wales and ‘Hurt’ is their spanking debut which follows in hot pursuit of their recent acclaimed appearance of the excellent ‘North South Divine’ compilation – which goes without saying we highly recommend. ‘Hurt’ hardly gives you time to warm up before it’s cute janglesome groove is about your head messing with your hair, forget the current flood of indie guitar bands that the press are making darlings of, this unlikely quartet are the real ticket when it comes to summer tinged bloated riffing that hit you full on face wise. ‘Hurt’ is affected by an infectious razor sharp combination of teasing chords, to die for hooks and a chorus that buries itself deep into the psyche, reminiscent if truth be told of the much missed Power of Dreams in that they have the ability to make full use of their allotted 3 minutes to great advantage. Flip over for the arresting ‘Caught me unaware’ which carefully navigates its way under your skin with its tenacious quick fire jabs before laying you flat with the ultimate chorus sucker punch. Pretty near to perfect as a debut record ought to be.

Parchman Farm ‘S/T’ (Jackpine). Time for a spot of wig flipping while getting down and very dirty. A brief recap – Parchman Farm are a quartet who delight in playing the kind of stuff that would have laid out the Woodstock crowds of yesteryear and no doubt tipped them over the edge on their acid enhanced odyssey to find the meaning of life. In lead singer Eric Shea (ex Mover) they have a singer who is admirably capable of laying claim to being the best rock vocalist yet to be discovered by the wider mainstream press. Paired with the no stone left unturned classic rawk that his fuzz laden compadres hazily leave simmering in the background the Parchman Farm single handedly mine their way through a densely intoxicating brew that grooves and grinds under the influence, five tracks that combine as a keg of molten blissed out rock blues of the highest order with elements of the mighty Zep, early Deep Purple and a totally fucked up Doors being ram raided of their ideas by the Grateful Dead all being brought to bathe in the West Coast sunshine. ‘Mirror Spirit’ opens the set to a gruelling spectacle of spaced out riffs and high wire blues that constantly shifts and prods you along until your under its gritty funk gaze while ‘Too many people’ is a classic in the making that manages to house all the essential riffs, twists, energy that you’d expect from such a colossal white hot screamer and made all the more joyful by the inclusion of some of the breeziest harmonica not heard here since the Smiths ‘Still Ill’. True purists will no doubt flock to kneel cowering at the stripped down raw power of ‘Chosen Child’ while ‘Say Yeah’ it traditionally encoded with a frankly whiplash ensuing swampy drag though for me personally it’s the Hendrix drawl of ‘Cook you up’ that gets my vote, a brazen hip frugging teaser oozing sleaze by the bucket load and showcasing perfectly Shea’s howling vocal range to its extreme. Awesome stuff. www.jackpinesocialclub.com

New Order ‘Krafty’ (London). Those thinking that maybe New Order were something of a spent force following the not so much dismal but disappointing ‘Get Ready’ comeback a few years had better buckle up fast. ‘Krafty’ is old skool New Order by numbers doing what they do best – spanking the hi-fi. This being the 25th anniversary of Ian Curtis’ death it only seems fitting that Manchester’s favourite sons return to the fray, ‘Krafty’ serves as a crucial taster for the bands soon to released ‘Waiting for the Sirens Call’ full length. Now minus Gillian Gilbert who left the fold to look after her family they’ve bolstered their ranks with, as Hookie has been reported to refer to as, ‘school leaver’ Phil Cunningham ‘to bring down the average age of the band’. Shorn of the usual distractive nuances that have come to hinder recent New Order outings, ‘Krafty’ comes across like a rugged ‘Run 2’ being brought out of the ‘factory’ for a much needed re-spray, dashboard refit and comes tempered with elements of ‘Leave me Alone’ though on this occasion sounding less fraught and miserablist. Additional remixes keep it for once tight, each hitting the spot time and time again especially the ‘Glimmers Dub Version’ which to these ears nails to the spot that trademark 80’s sound associated with Martin Rushent’s stretching and tweaking of the controls. In fact the ‘Riton Re-Dub Remix’ even goes as far to subtle procure a few ‘Blue Monday’ subtleties in its quest to be the most interesting cut here. For now the most important thing is instead of busying themselves recreating genres they’ve done the wise thing and quite possibly recreated themselves.

Exit 52 ‘Dandelion’ EP (Pronoia). Okay we have already featured this way back at Missive 36, seems you kids didn’t take notice for the first time of asking so those nice people at Pronoia have done you the service of re-releasing it in the hope it catches, and catches like we hope it does. Having heard it again and then read what we wrote the first time around and what with us being lazy blighters we’ve saved you the grief of trying to find our scribblings and printed it again. So for the second time and still sounding as peachy as ever Exit 52 ‘Dandelion’ EP.
Twanging guitars, theramins and shadowy atmospherics, almost as though these kids have purposely gone out of their way to make a single with all the ingredients (bar a blast of a harmonica here and there) to suggest that this is right up my street. Okay nothing known about this band which is pretty much something that by now you are probably well used to (investigative journalists we are not but then you gathered that). Four tracks, and let me say here at this point, four tracks that are excellent, yes, but, as the tracks progress through from start to finish they appear to get ever more disconnected. So that you get on the opening cut ‘Dandelion’ (the most together pop nugget here) something that sounds like a menacing Baby Bird exiled on the film set of Forbidden Planet with the Bad Seeds and Black Heart Procession for company. ‘Nineteen Eighty Three’ has (obviously) an air of 1983 about it, chillingly austere, sort of New Order / Depeche Mode / Chris Isaac doing musical backdrops for adverts selling seaside package deals on Mars, replete with that same hypnotic circular bass line that Kylie (allegedly) made famous and stalking riffs that collide with hostile intent. Eerie as it is ‘Meow’ is the preferred cut, waywardly homely, mysterious and distant, with vocals that sound like Morrissey on helium, it bobs and weaves between acoustic drunkenness and ethereal atmospherics to swerve about seductively, which leaves the very odd ‘Twelve Bar’ to round up the set, imagine a very sparse Radiohead without the trickery doing late night down tempo arty musical collages with David McAlmont doing guest vocals, strangely sublime if you ask me. www.exit52.com

Now we really could get to the end of another missive without mentioning this corking a relatively new 7” series from those lovely folk over at Earsugar who incidentally will be wowing the cool kids fairly soon with the spiffingly packaged By Coastal Café album next month. Of course we say relatively new obviously with a big meaty tongue placed firmly in our embarrassed cheek, and yes I suppose you guessed it – another of those ‘hey we remember you, one minute you were there – then you weren’t’ type releases rescued from the unceremonious oblivion that is under the bed. Five singles on our, as was, advance CD with each release strictly limited to 300 copies each – and though we have an inkling they’ve sold out (obviously because they are sh*t hot) we firmly believe a spot of detective legwork peering into the dusty record racks at the coolest record emporiums should prove fruitful and dare we say rewarding.

Mek Obaam ‘Goodnight, thank you’ (Earsugar). First in the Earsugar Jukebox series comes courtesy of Mek Obaam and a little gem it is too. We’d like to think that once within ear range of this babe you’ll be hooked and begging for more, strange really because it starts to the sound of a nakedly drawn scratchy riff with rustic ambitions it soon catches light mainlining into a delicious summer bopping pop mentality that by the close sounds not unlike JMC’s ‘Never Understand’ although markedly more hook laden and less sonically ravaged. Flip over the disc for ‘Johnny and Mary’ sadly not the Robert Palmer hits of yesteryear but instead a killer tune that taps perfectly into the whole Scousadelic scene currently warping Beatle-land – think of the LA’s ‘Feelin’ given a crucial makeover. Top stuff.

Hi Lonesome Electric ‘Pierre and John Henry’ (Earsugar). The second instalment in Earsugar’s ‘Jukebox’ series arrives courtesy of Hi Lonesome Electric. ‘Pierre and John Henry’ is a shimmering slice of resonating electro glacial twinkle pop dusted down with the subtlest of folk essences with more than a passing quotient of Jamie and the Magic Torch to muddy up the mix. ‘Hoola’ over on the flip is blissful at its worst and enchanting at its best, exotic slide guitars wax and wane in the background to give the jostling crackle pop fabrics in the forefront a romantically lost environ in which to lose themselves in. Quite beautiful if you ask me – file under reclining icicle pop.

TM Schneider ‘Psychedelic Queen’ (Earsugar). How about this, how often do you get to hear Queen covers – like never and why, well two reasons really when you do they are atrocious and secondly and perhaps most importantly with Mercury on board as was did you ever believe that anything not approaching near perfection would pass his high quality control ears, but then nobody counted upon Schneider TM deciding to run the sword through ‘Don’t Stop Me Now’ in such an audacious and yet incisive way to emerge from the other side better for the experience. Given a futuristic psychobilly retread this has you thinking Sigue Sigue Sputnik having fisticuffs with Revolutionary Corps of Teenage Jesus – yes-good people that good and worthy of the admission fee alone. Flip over the disc for a simply arresting re-drill of Lambchop’s ‘the New Cobweb Summer and let dare you not to love every minute of its passing to bits.

Super Reverb ‘Jack Potato’ (Earsugar). Another ensemble of whom it will come as no great surprise we know nothing about – count on us to be on the ball – not. Still we don’t need to know their daytime habits in order to love this feisty little brace of tunes. This slice of demonised psycho-tronic rumble manages to find a neat space between John Spencer Blues Explosion and the Liars in which to scare the passing traffic, ‘Jack Potato’ is an ear smarting dose of caustic unhinged pop that all at once discordant and deliciously dangerous. ‘Hey Mr Rambler’ on the flip side worryingly starts out sounding like Plastic Ono’s ‘Give peace a chance’, well we say worryingly what we really mean is that given the accompanying A side it’s a tad unexpected. What you get is several minutes of strangely hazy campfire weirdness that sounds like a blissfully sated Gun Club after a collective shooting up session.

Julia Hummer ‘Boxy, where are the Spangles?’ (Earsugar). As you’ve no doubt surmised we know nothing about Julia Hummer yet it’s a fair bet to say that we will be extending a willing ear to future releases if these tracks are indicative of her compositions as a whole. Invading the air with the spirit of Kirsty MacColl as though spliced with a rather flirtatious Suzanne Vega, Hummer’s gently drawn brew of piano / acoustic guitar arranged folk pop cheerfully skips with an essence of 70’s MOR nibbling at its rear and there’s nowt wrong with that we can tell you. ‘Boxy, where are the Spangles?’ is all tumbling chords that seem to roll with rickety glee past the coolly chilling vocals and don’t be fooled by the seemingly matter of fact delivery afforded overall this has all the tastiness and freshness of a late afternoon West Coast shower. ‘Bowling in Woodstock’ – damn, damn, damn – so gorgeous we broke the repeat button. Set upon a bed of weaving rustic charms, Hummer lets her bewitching aura unfurl to keep you entranced by the part morose, part lovelorn deliberations entangled within, oddly haunting but then deeply alluring in a poppy Black Heart Procession kind of way. Did we say you must buy this? No!?! You must buy this now. Consider yourself told. www.earsugar.com

Stillman ‘The Weightless’ EP (Self Released). As if to safely tuck you up into the bed for the night with this particular Singled Out missive something very wonderful from Stillman. This five track EP dropped our way a few weeks ago and we really have to put our hands on heart to say it simply floored us, such eloquent beauty and breathless longing is such a rare thing indeed but between the grooves of this self released demo they simply ooze as though fast going out of fashion. Stillman is Chaz Craik who it seems has been plagued with missing fortunes boat on more occasions than is reasonably fair for one person to withstand. Craik is a self taught musician and producer who in the 90’s found himself playing lead in the Oxford ensemble Cab who showed enough promise it seems to have had both Creation and Parlophone chasing until that is the Brit Pop imploded later returning as a producer with stints for the much maligned Medal among others. Sharing an affinity with Nick Drake it seems that is to say in terms of being able to conjure peaks of sublime melodic textures from thin air, the sound of Stillman is seductively fragile, from the minute the breathless ‘Foreword’ comes into earshot you know immediately you are in the presence of something truly special, the life affirming weave of rustic chords tripping in the daybreak bathed by a cortege of soothing strings alerts to Oddfellows Casino at their most masterful and magical. The crystalline production and the alarming elegance portrayed in the teasing ‘Weightless’ is simply jaw dropping while in stark contrast the up beat skiffle hop of ‘Born for Show’ will raise eyebrows. Tucked at the end the spectral cast of the softly tussled psyche folk on ‘Afterword’ shimmers with a sense of regret and hurt that’ll cut you to the core yet personally its ‘The worst is over’ which proves to be the real gem to be found here. Classically orchestrated sad eyed pop that invites you to melt to the honey dewed ache within, the strength of melody outstripping the frailty of the heartbreaking anguish woven into the compositions gossamer fabric – to walk from this unaffected is to not love music at all. All tracks can be downloaded via Stillman’s website. Single of the Missive and without doubt one of the finds of the year. www.stillman.org.uk

All that leaves me to say is tara for now – back by the end of the week for another killer selection of tunes your record collection so richly deserves.

My undying gratitude to those that have made these musings possible whether it be press reps, labels or the artists themselves – no names you know who you are.

Don’t forget we like emails whether it be death threats, rants or offers of marriage – all dutifully considered, donations of record collections always welcome and demos loved and cared for – the address as always mark@losingtoday.com also for snail mail see above.

As always for your records when in Liverpool try Probe Records in Slater Street for all your cool vinyl and CD needs, in London Rough Trade based in Talbot Street should cater for everything you need to care about while for speedy mail order and a chance to hunt down those extremely limited releases no one else has left then best bet is Norman Records www.normansrecords.com

‘Singled Out**- the Sunday Experience’ coming soon to a PC near you.

Stay cool and safe - see towards the back end of the week – thanks for being there – don’t be late,

Love and stuff,

Mark
X

‘Singled Out** – if only your record collection could talk’

**Singled Out is a fat free product tested on Hi-Fi’s in controlled conditions. Repeated dosages may cause infrequent bouts of exuberance and wig flipping – if side effects continue – desist from all activities retire to a darkened room and repeat experience at maximum volume.

Singled Out was brought to you by ‘Our Records Are Better Than Yours – So ne ne ne ne ne’ productions – we reserve the right to dis your record collection – now piss off – over and out.