Our Daily Bread 311: Swazi Gold, Louis Jucker, Graham Domain, Venus Fly Trap, Quiet Marauder
March 25, 2019
Reviews: Brian ‘Bordello’ Shea
Swazi Gold ‘Jehovah’s Witness’
8th March 2019
Swazi Gold is a new three-piece band from Melbourne, Australia. As I’m a huge Go Betweens/Triffids fan I was hoping for sweeping guitar melodies to melt my heart and to bring tears to my eyes. And to be honest I wasn’t disappointed.
Songs float and purr not just recalling the halcyon days of Postcard records but also bringing to mind Can in a poppier frame of mind, indie tin pot disco sleaze programmed Casio beats, surf guitar and with the nod and wink of Bourgie Bourgie the band that should have been stars but were not even a afterthought.
There are so many layers to the simplicity of this LP that it really is quite a beautiful thing. This six track mini album is way too short and I look forward to hearing a full album worth of songs that manage to make me think of the Doors, Beat Happening and the Moles in the space of a eight and a half minute final triumph, which the band do on ‘Reflections’: a track which pulls off the rare feat of feeling like its only three minutes long.
A band to watch out for in 2019 and beyond.
Louis Jucker ‘Kråkeslottet (The Crow’s Castle)’
(Hummus Records) 1st March 2019
This LP is wonderful. I could stop there and write no more, but I’m not going to.
This is the sound of the Velvet Underground, the Cure, an acoustic Can, Mercury Rev, Grandaddy and Arab Strap having a get together to show each other how they write and record, moving pieces of aural magic.
It has a darkness a moodiness, a passion in its lo-finess, and we all know how much I adore lo-finess. ‘A Modest Feast’ makes me feel uncomfortable, ‘Storage Tricks’ is moving enough to have been recorded by the Microscopes, and ‘Tale Of A Teacher’s Son’ could have been recorded by Ed Sheeran if he had a personality and made art instead of product.
This is a strange LP; it jumps from pop to abstract piano tone music to moving spoken pieces over beautifully simple acoustic backing. An album anyone who likes the unusual should check out; like I said in the opening line, this LP is wonderful.
The Venus Fly Trap ‘Morphine EP’
7th February 2019
This describes itself as Post -Goth, which is a very good description but I would have just stuck with Goth myself. The Venus Fly Trap are a three piece from Northampton and by the sounds of it have soaked up all the influences from Bauhaus and Rose Of Avalanche and such ilk and mixed it with a bit of Gothabilly ala Demented are go and early Alien Sex Fiend, before they discovered Dance music, and to my mind became a bit disappointing.
This however, is not at all disappointing. It would in fact go down very well with Goths of all ages it has the mechanical drum beat, the throbbing Goth bass and the metal like guitars all good Goth music should have. It has the strained early Bowie as Ziggy reflections in the vocals, not unlike the other Bowie acolyte Pete Murphy (or is he still calling himself Peter Murphy). Anyway this may not be the most original sounding EP you will hear this year but that does not mean it is not worth hearing, as it is anyone who likes their rock with a touch of the dark side should give it a listen.
Tempertwig ‘FAKE NOSTALGIA: An Anthology of Broken Stuff’
(Audio Antihero/Randy Sadage) 29th March 2019
I was pleased to see in my email box the new release from the excellent Audio Antihero label, a label I have been known to splash out and occasionally buy their releases. Also a label that once had my band The Bordellos Ronco Revival Sound LP in their favourite albums of the year list in 2013 [i think], so a label with great taste.
One of the CDs I bought from Audio Antihero was the Superman Revenge Squad album. Why do I mention this? Well it’s because members of that band were also in Tempertwig, this being a anthology of Tempertwigs recordings.
What do Tempertwig sound like I hear you ask? Well, beautiful bus queue Heartache; the overheard one sided phone conversation of a bleeding heart soundtracked by the sort of angular guitar riffs that John Robb is so fond of mentioning; a London boy lost in the underground clubs of New York hoping to catch the sideways glances of the pretty and cool. Skinny fit Sonic Youth t-shirts and early Pavement vinyl jostle with the Wedding Present at their darkest best.
I would recommend this LP for anyone out there currently suffering from a broken heart, as this really is the way it feels, and there is nothing quite like a wallow in somebody else’s misery. It is also a very little known fact that Guitar noise is a much-underrated cure for heartache, as is drinking vast amounts of whiskey, but this album won’t have you throwing up in the sink.
Graham Domain ‘Cold Moon Harmonics’
(Metal Postcard) 21st February 2019
This is a twisted sun of a LP, an album that highlights the dark underbelly of pop, a magical carpet ride of record store dust. Melodrama and melody fuse together songs that bring to mind a vision of Scott Walker and David Sylvian sat quietly watching the sun fade through the memories of a glittering past; soundtracked by the slow thud of your neighbours feet as they trumble past your flat, and the constant drip of a tap.
This is an LP that should be cherished and held close to your heart as you try to ignore your mundane existence and think of what should have been; how you once held her tight and now can only cling to the photograph; you held her face between her hands and softly kissed in the snow and now all you have left is this the beautiful sound of could ‘have beens’ or ‘should have beens’: The beautiful sound of Cold Moon Harmonics.
Quiet Marauder & Mathias Kom ‘The Crack And What it Meant’
(Bubblewrap Collective) 26th April 2019
A 30-song concept LP is normally a foolhardy thing, after all this is not the 1970s when Yes and Genesis were kings and people would put up with such extravagance. It is normally either a misguided act or a sign in overconfidence in one’s songwriting ability; even the Great Ray Davies came a cropper when he stopped writing sublime three minute songs of great beauty and started to release cack-handed concept albums, in that very same decade.
I’m pleased to say that The Crack And What It Meant is neither of those things. It’s certainly not misguided – how can an album about the current madness going on the world be misguided? After all, music should also not be scared to document what is happening in the world at the time of release. If it’s done well it shouldn’t date: The Specials ‘Ghost Town’ a fine example of a song that is as relevant today as when it was released.
The subject of overconfidence in songwriting also does not come into play in this case as the songs are indeed finely written, sweeping and swaying with the ease and beauty of a kite on a windy day, genre hopping like a musicologist discovering Spotify for the first time. Sometimes Mother Of Invention, sometimes the Bonzo Dog Do Dah Band, other times the great Julian Cope and even Richard Stillgo fronting The Coral. Synthpop, folk, cabaret show tunes are all attempted, and on the whole very successfully.
The narration by Mathias Kom works very well and holds the whole thing together a little like Richard Burton’s narration on Jeff Wayne’s War Of The Worlds album did for that rock oddity. Also like the War Of the Worlds some of the songs are strong enough to stand alone without the concept: The tracks ‘The New Believers’ and ‘We Came In Droves’ are worthy of the Silver Jews after overdosing on a boxset of the Goodies finest moments.
On the whole this album is a huge success and is not foolhardy or misguided at all; an album full of dark humour, fine melodies, invention and pop nouse, and also with the song ‘I Came To Cure My Baldness’, one of the finest lyrics you will hear this year. It gets my thumbs up.
Words: Brian ‘Bordello’ Shea
Our Daily Bread 310: Interview: Beauty Stab
March 22, 2019
Interview: Brian ‘Bordello’ Shea
Beauty Stab are Dan Shea and Buddy Preston, two former members of the, highly tipped at one time, Goth rock industrial folk band Vukovar, who left to share their love of post punk, disco and 60s/70s/80s pop to the world. Their current three track EP has been one of this year’s musical highlights a stunning release bringing back the much missed and much needed glamour, heartbreak and bedsit seediness to the pop world.
Why did you leave Vukovar?
Buddy: For the love of music and art, we needed a change of scenery. For a while, I fell out of love with producing music and was finding myself feeling so emotionally detached from it. Upon leaving Vukovar, I initially didn’t want to do music anymore and concentrated instead on other artistic ventures for a while. But music is where the heart is.
Dan: I’ve no desire to dwell on that or air dirty laundry. All that needs to be said is that I did.
What made you form Beauty Stab?
B: The need to carry on pursuing making art and music with a close friend. I know that anything Dan writes is genius and I hope he thinks that my contributions do them some justice. Whilst in Vukovar, I wanted to record Dan’s rejected songs because I always saw something in them in a way I knew I could make them work.
D: The current landscape musically is devoid of sex and danger. Our society is moving backwards at a frightening rate. Even though we are at present operating on a very small scale, I really want to one day be to some confused queer kid living in the middle of nowhere what Marc Almond or David Bowie was in years past (or John Balance from Coil was to me). I am queer in both senses – I am gay but more crucially I am fucking Weird. Our homos should not be homogenised. We are not milk, although Harvey was. Queer is not just about sexuality – I’ve been lucky enough to know straight people with very queer sensibilities and cursed enough to know gay people who are cripplingly pedestrian. There are others doing this at the moment – SOPHIE would be one that’d spring to mind, she made my favourite singles of 2018 (It’s ‘Okay to Cry’ which is a beautiful song and ‘Ponyboy’ which is just sheer filth).
But no one is doing it in the field we operate in. It’s full of hopelessly glamour-less people with beards who make the right noises and have the right political opinions but they’re making sexless facsimiles of records made by people who, shock horror, listened to stuff by people who didn’t look and sound exactly like them. Or maybe they are but I’m not meeting them. If you’re out there please get in touch with me through the obligatory Beauty Stab social media because lord knows I need a friend. If you’re not already doing it, put some makeup on however badly, wear some nice patterns and poke at a synth ineptly and I would love to share a bill with you. I’m into the idea that left-wing politics doesn’t have to be austere and devoid of joy. Bronski Beat strike a chord with me far more than some dullard with an acoustic guitar telling me what I already know in a way I don’t want to hear.
I know it’s also an ABC reference but Beauty Stab is a powerful combination of words. A shard of luxury you don’t actually have to be able to afford because we’re there, you’re here, it’s now and this is the only time we have. In my current crop headed state, Buddy’s the Beauty and I’m the Stab. Bad news from a pretty mouth.
What are your influences?
B: Life experiences, tales of old, people we appreciate. Musically, whatever we’re listening to at that moment. We’re creating mixtape style playlists for various streaming media to let people know what we love right now, and maybe we can enlighten some people.
Dan: Quote Clothes – “girl group hymns and jackboot disco”.
Different movements really. Musically, all the people listed in England’s Hidden Reverse with Coil being the best. We like lots of Italo disco and Chicago house and Soft Cell, Depeche Mode, Prince, etc. Those people were emulating. We’re also massive, massive fans of Rowland S Howard and pretty much anything he touched. Then there’s all the obvious Bowie, Iggy, Roxy, Lou Reed. Then there’s girl group records and by default anyone who has the sense to plagiarise them.
Then we’re also influenced by how shit everything is, and also the ethos that riot grrrl bands and people like Crass had even if the artwork and the ideas are invariably more interesting than the music which is a bit sonically conservative and paint by numbers.
You worked with many established artists with Vukovar, have you any plans to collaborate with any with Beauty Stab? Or are going to rely on your own talent?
B: We’ve played with some people that have really inspired us as artists; so to call those friends now is incredible. I wouldn’t want to rely on those with an already established fan base, we wouldn’t say no to the right people, of course.
D: That’s a bit of a pointed question isn’t it? We’ll see what happens. There are people I’d love to work with but whether it was as Beauty Stab or part of their project or something else entirely is another consideration. We’ve both got a very definite vision and aesthetic for what we’re doing and that may morph over time but anyone who we did work with would have to fulfil two criteria.
- If we can do it, we do it. If we can’t then we’ll bring them in.
- This ship has no passengers. I only want to work with people who have ideas of their own and can contribute to the creative process: not a glorified plug in we’re scripting or trading on the value of the name of. An example of someone I’d love to work with would be Karl Blake. I keep asking him. He’s not released a record in decades. Mick Harvey plays on about half of my record collection but that’s never going to happen. We’re obviously going to collaborate with the Mekano Set because they’re our friends.
Are you going to stay as a two-piece or have you any plans to expand the line up?
B: We plan on having quite an interchangeable line up depending on what type of gigs we’re attending. For now, we’re using all sorts of machines, synths and tapes to help us get the live sound we want. But in the future, we would love to play our songs with a full band.
D: I’m open to ideas.
Any gigs planned? Plans for the near future?
D: Our live setup is mostly composed of broken equipment, also utilising drums and sequenced bass tracks played off a tape recorder a la OMD. As such there are no dates to announce – we are in talks with several different venues and I’m looking forward to making everyone of any gender in the audience pregnant solely through the means of my voice and dancing. If that doesn’t work Buddy is categorically the best looking man in the world so there’s always that. I can only imagine that even blind and deaf people could develop a crush on him.
The recently released Beauty Stab EP, O Eden, can be downloaded from all usual outlets or from Metal Postcard Records bandcamp.
Words: Brian Shea
Our Daily Bread 308: Beauty Stab ‘O Eden’
March 8, 2019
Single Review: Brian ‘Bordello’ Shea
Beauty Stab ‘O Eden’
(Metal Postcard Records) 8th March 2019
So this is the debut single from the new pop duo Beauty Stab; a duo that has the talent to bring some excitement, sleaze and glamour into what the staid machine of the music industry has become. Words cannot do justice to just how good this single and two B- sides are, well actually I will call it triple A-sides as the two extras are equally as special as the triumph that is the lead off track, ‘O Eden’.
So I will start with ‘O Eden’ a song that is the closest we will get to the Walker Brothers this year or any other year. Dan Shea is probably the finest pop singer in pop today, he has the melodrama the heart and bedsit seediness that has not been heard in pop since the golden days of Soft Cell, he has the same qualities as the early 70s Bowie: The “I am a pop master you are just pretenders; sit back and see how it really should be done”.
‘O Eden’ is plainly just a beautifully written pop swoon of a ballad, if when the chorus sweeps in, if it doesn’t bring a tear to your eye and a lump to your throat you should get someone to check your pulse to see if you are still in the land of the living. Majestic is the word.
The second track ‘Need You Around’, sang by another member of Beauty Stab, the pop pinup in waiting Buddy Miller, is a song again blessed with a otherworldly beauty that you just do not sadly, very often, hear in pop today; part Blur’s ‘To The End’ sang by a young Morrissey in his Smiths days, bathed in echo, it is a drop dead beaut of a song, and when a new duo has two such fine singers, haunting is the word.
The third track ‘Clothes’ shows the other side to the mighty Beauty Stab, the sleazy sordid side. This is all Bowie Scary Monsters guitars Walker Brothers Nite Flights darkness: “Your girlfriends clothes looks better on me, your skin looks better on my skin”. A song with so much cut dead gutter sex it is dangerous. Raunchy in a word.
So the words majestic, haunting, and raunchy have all been used in describing this three-track single perfectly. I would also like to add, Major record labels get your cheque books out, I think there might be a bit of a bidding war on.
Our Daily Bread 305: Whispering Sons, So Beast, Coldharbourstores, The Proper Ornaments
February 26, 2019
Album Reviews: Brian ‘Bordello’ Shea
Each week or so we send a mountain of new releases to the self-depreciating maverick patriarch of the dysfunctional cult lo fi Bordellos, Brian Shea, to see what sticks. In his own idiosyncratic style and turn-of-phrase, pontificating aloud and reviewing with scrutiny an eclectic deluge of releases, here Brian’s latest batch of recommendations.
The Proper Ornaments ‘Six Lenins’
(Tapete Records) 5th April 2019
The Proper Ornaments Six Lenins LP is an album of beautifully crafted guitar songs that deal with hope, loss, love and heartache, and John Lennon, a man who would no doubt applaud this LP, for although portrayed as the snidely sarcastic Beatle, we-in-the-know know that was all just a front and he was a big softy at heart, who would have admired the songs that deal with the beauty in sadness, and the sadness in beauty, that run throughout this fine album.
I can imagine Six Lenins being released in the late 80’s on Creation and being overlooked at the time: It has the qualities of a future overlooked classic, much like The Lilac Times Astronauts is or should be. In fact this LP at times brings to mind Ride when they were not in shoe gazing mode or the Spacemen 3 in their poppier moments, especially on the title track, when the beautiful organ makes a very subtle appearance. In fact the organ throughout is rather excellent and does not interfere with the overall sound of the LP but gives it a texture that ups the album a notch from being just another fine guitar record.
Six Lenins really is a beauty, and sounds like a proper ‘album’, not just a collection of songs huddled together in pretense, hoping no one will notice. And for that, if I were religious, I would say ‘Amen’.
Coldharbourstores ‘Vesta’
(Enraptured Records) 1st March 2019
Once again here I sit fingers poised on keyboards ready for the tunes to commence, and yes I am faced once again with the sound of dream pop, but lo and behold this is not your average everyday dream pop but a rarified form of dream pop, a much cooler form of dream pop, so much so it is in fact ice dream pop. In fact it is not dream pop at all but pop that is indeed dreamy; it’s like being caressed by the love child of Bob Stanley and Elizabeth Frazer; it’s like Saint Etienne after graduating from a Swiss finishing school.
Chiming guitars electric piano’s and drumbeats collide in a mass of pop seduction, a celebration of all that is missing from today’s daytime radio stations. But like all good pop music it has a dark undertow, an intelligence; music made by those who know that pop music is the highest form of art.
Quite wonderful.
So Beast ‘Fit Unformal’
(OhDear! Records) 2nd March 2019
I love this LP. It is both strange and beautiful and beautifully strange.
The intro track all sped up and cut up voices mixed with discordant synth and guitar leads into the wonderful ‘Fuzzlight’ – all Arabic piano and twangy guitar with lovely sultry vocals that sound like Haysi Fantayzee having a quiet word with themselves.
It really is nice to hear that bands have not lost the urge to try and make music that is both experimental and sexy; mixing cool Jazz with amusement arcade beats and raps with heavy guitar stabs, at times it reminds me of the wonderful Scott Walker’s later albums – heavy on the percussion with atmospheric sax.
These tracks are actually all over the place genre hopping in the same song; ‘Polar Magnet’ kicks off all Cardiacs’ riffs and then goes all Bjork on us, finishing with the singer coughing – there really is not enough coughing on records.
So Beast really should be applauded for Fit Unformal as it really is an unusual and highly successful stab at making an experimental alternative pop album.
Whispering Sons ‘Image’
5th April 2019
I was not quite expecting this. I was instead expecting a Joy Division and Interpol like noise but was presented with the image of the Sisters Of Mercy and The Mission, which to my ears is no bad thing, for I’m at the age when I lived through the golden era of Goth and enjoyed many Wednesday nights in the 80’s at the legendary Wigan Pier alternative night watching Goths charge eloquently to the dance floor ripping up beer mats and throwing them into the air pretending it was some heavenly like confetti as soon as the opening guitar run of the ‘Temple Of Love’ was aired.
This is rather very good indeed. The more the LP goes on the more I long for dry ice; the more my mind goes back to those carefree 80s days, for this could have easily competed with the many wonderful records of this variety that era produced. Not that I’m saying this is dated, as it is not. It’s actually quite a breath of fresh air to these ears and with the reemergence of Goth there is no reason that this album and the Whispering Sons cannot do very well. I would certainly recommend Image to any old Goths out there and to any of the younger generation wanting to know how it should be done and how it should sound.
Words: Brian ‘Bordello’ Shea
Our Daily Bread 301: Delicate Steve, Mozes And The Firstborn, Sir Robert Orange Peel, Bibi Den’s Tshibayi
February 7, 2019
Review Roundup: Words: Brian ‘Shea’ Bordello
Delicate Steve ‘Till I Burn Up’
(Anti/ Epitaph) 1st March 2019
Well this LP by Delicate Steve is a music publisher’s dream, if I had handed this into my publishers they would be performing cartwheels and my back would be bruised from all the backslapping. Nine well written well performed instrumental works that are catchy without being annoyingly so commercial, without being overly commercial. Tracks that will be played on both FM and alternative radio shows; instrumentals that one can be imagined used in adverts and TV shows of all genres, Sci-Fi, spy, romantic dramas, tunes being played behind the days sporting highlights.
This LP is ideal for soundtracking your daily routine without interfering too much in it. The music goes from having a modern day vibeness funk of Daft Punk, ‘Selfie Of A Man’ to the wonderful opening track ‘Way Too Long’, which if anything is way too short: With its squonky Synths and Robert Quine like guitar this is the kind of track you would have run home from school in the 70s for.
My personal favourite track is the royally majestic procession of a thing, the synth driven beauty Purple Boy, a song if not named in tribute to the sadly missed wonder that was Prince should have been.
It’s an LP that is well worth investigation.
Mozes And The Firstborn ‘Dadcore’
(Burger Records) 25th January 2019
An LP that wants to be a mixtape, a very good idea; an LP that is a love letter to rock music is music to these ears. Anyone who knows anything about my band The Bordellos loves such concepts, and know all-too-well how we go for things like that: Our How To Hate Friends And Influence No-one was a hate letter to the music industry and how bland it was becoming. I can happily report that this LP is in no way bland or boring but is a fine power pop album: All Glitter band drums, Raspberries guitars and melodies you could float on.
Songs that mention radio in the lyrics is always a good guide, whether the band have pop nouse and can be trusted with your pop heart, and any band that rips off The Beat’s ‘Save It For Later’ (or should I say is influenced by it) is alright with me as one should also try and rip off the best.
The opening title track is a fine example of what The Clash performing the Bay City Rollers ‘Saturday Night’ might sound like, if you ever wondered. Any lovers of The Eels and Fountains Of Wayne will no doubt embrace this LP; it has all the right chords in all the right places, it has its heart in its art; it has the right amount of darkness – as we all know when the darkness meets the light magic can happen and it does happen on a number of occasions on this LP.
It’s also nice to see that Burger Records can get things right occasionally (they turned down the chance to release a Bordellos LP (I’m not bitter, just a little twisted) but I do not hold grudges, even if I did I would still say this is a worthy addition to any lover of guitar pop collections.
Bibi Den’s Tshibayi ‘Sensible’
(Pharaway Records) 14th February 2019
This album is a gem of Ivory Coast Funk, kicking off with ‘Africa Mawa’, a wonderful mixture of jangly guitars and post-punk-funk like Synths; if it wasn’t for the vocals you could imagine it fitting nicely on Orange Juices’ Rip It Up album: A great way to start an LP. It is followed by the quite lovely ballad ‘Djwa Yango’; again of its time, this LP being recorded in 1983, it has the 80s synth sound but a wonderfully repetitive haunting synth riff.
Track three started and it sent me spinning back into the past: I was all of a sudden 18 again listening to the wonderful John Peel show, as he so very often filled the airwaves with quite wonderful African funk and the Sensible title track is indeed wonderful African music – maybe my favorite track of this four track album, quite marvelous in fact. Chanting vocals, funk guitar and incredible drumming, a song that puts the fun into funk. Then the final song comes all to soon the only fault I can find with this LP that at just over twenty five minutes on length it is over all too soon. I have not heard an album this joyful in a long time. In fact I’m going to put it on again.
Sir Robert Orange Peel ‘Turn That Bloody Racket Down!’
(Metal Postcard Records) 31st January 2019
Another LP from the wonderful Metal Postcard Records; this label releases so much wonderful music that is wrongly ignored. I am here to put that right.
This LP is a fine example; any LP that starts off with a wonderful farting synth and proceeds to erupt into a fury of lo fi funk before going on to a sample of telephone scammers over a slow drumbeat (slow very funny and very strange) is what the world is crying out for; music that deals with everyday life but with a dark smile on its face.
Who else would take a 70s sample of Mastermind the TV quiz show, when the persons specialist subject was the Sex Pistols, and just put a simple drumbeat behind it?!! As I have already said, insane but brilliant, the whole LP carries on in a similar vein and conjurers up both feelings for the nostalgic days of the past and the horrors of the world today.
I will not go into the subjects of all the tracks, as I do not want to spoil this wonderful eccentric dance record for you. GO AND DOWNLOAD IT AND CHEER YOURSELF UP!
Words: Brian ‘Shea’ Bordello
Reviews: Brian ‘Bordello’ Shea
Little Albert ‘Why’
(Metal Postcard) 26th January 2019
I approach this release with a little trepidation for a few reasons; firstly it is an LP of Hip Hop from Hong Kong. something I can honestly say I have not really listened a great deal to, secondly it is released on Metal Postcard Records a label I myself released my solo LP on. But the main reason being the opening track is a cover of ‘Gucci Gang’ by Lil Pump, one of the more annoying tracks from last year. But Little Albert has transformed this track from an irritating piece of rap fluff into a slightly sinister dark chant, all amusement arcade beats and switchblade kisses.
The next two tracks continue with the sinister uneasy vibe, ‘Shadows’ being backed with a machine gun beat and ‘Vege Milkshake’ a slower hypnotic keyboard riff. Track four, ‘Asking Why’, wraps itself in an urgency that builds and builds and slowly starts to irritate in a good way: like the person you love poking you in the chest with a wilting dandelion stem.
‘Compulsive Peeping’ apart from having a great song title is maybe my favorite song on the LP; a much more relaxed and laid back affair if I could understand what the lyrics were it would be the perfect Hip Hop track, sparse and dangerous like all the best Hip Hop tracks are.
‘ADHD’ is probably the most attractive in the musical commercial sense. A song one could hear on the radio any day of the week, that’s if radio stations played Hip Hop from Hong Kong. ‘Asthma’ is all clickbait drum beats and harmony glass smiles, whilst the LP finale is a wonderful piece of experimental Hip Hop psychedelia called ‘Repeating’ and alongside ‘Compulsive Peeping’ is the standout track on, what is, a very enjoyable album.
Living Hour ‘Softer Faces’
(Kanine Records) 1st March 2019
Now then, there are loads of bands at the moment who currently sound like this, Dream pop, Shoegaze, New Psych or whatever you want to call it. I myself do not see this as a bad thing if it is the type of music you want to play or the type of music you enjoy listening to, fill your boots. I on the whole very rarely venture into Dreampoppery but on the whole I really enjoyed this LP. It has a dark sweetness about it like a candy floss Red House Painters. There is a pureness in the vocals: ‘No Past’ is quite a beautiful track and the layers of vocals and the church like organ of the final song ‘Most’ are highlights.
As I have already said there are plenty of bands currently making this kind of dream art but Living Hour do it better than most, so I’d recommend Softer Faces to anyone who enjoys a touch of the ‘ethereal’ in their pop life.
Amanita ‘Sol y Sombra’
(Pharaway Sounds) 14th February 2019
This is a vacuum bag filled with sex, alcohol and happiness that you have smuggled into your mother in laws home and opened when she has decided to go to bed. It is the soundtrack to the end of the working week, the joyfulness that can be found knowing that for the next 48 hours all you have worry about is managing to stay awake and enjoy the ongoing non stop party.
Funk, jazz, salsa and the lost faraway memories of how sex and yearning would have been portrayed inside a cocktail shaker on a cruise ship in a TV movie set in the 60’s/early 70’s. In fact this is he extended cocktail hour that will last as long as this LP.
This is the music Frank Zappa would have insisted to be played whilst his tuxedo was pressed and ironed before wearing and playing the Royal Albert Hall in 1968. It is the sound of a much better life that you will never have…it is pure suntanned sequined joy. If only I could be that unbuttoned shirt on this hairy chest rhapsody I would live and die a happy man.
Lite Storm ‘Warning’
(Out-Sider) 14th February 2019
This reissue was originally released in 1972 but was recorded in 1968 and could not have been recorded any other time. A typical wonderful post psychedelic rock release, all hip shaking mamas, pass me the drugs, and get down and boogie.
At times reminiscent of The Big Brother Holding Company, especially on the out there cover of the standard ‘Scarlet Ribbons’ – I wonder what Jo Stafford would have thought of it? The LP is a must have just for this demented version; it’s a song to base a whole career on, in fact The Coral probably have.
Litestorm it seems eventually gave up music and started a hippy commune and after hearing this LP I am not too surprised. Hopefully they still perform at the commune. If so, what a joyful occasion it must be: simple lyrics calling either for peace, party love and sex, or all of the above, sang by a lead vocalist who reminds me of the great Sky Saxon at his, shall we say, enthusiastic best. I wonder if he wears a headband it sounds like he does.
This is certainly a LP for all fans of late 60s rock n roll or people who just want to own the craziest version of ‘Scarlet Ribbons’ ever recorded.
Brian ‘Bordello’ Shea joined the Monolith Cocktail team in January 2019. The cult leader of the infamous lo fi gods, The Bordellos, has released countless recordings over the decades with his family band of hapless unfortunates, and is the owner of a most self-deprecating sound-off style blog. Each month we pile a deluge of new releases on his virtual desk to see what sticks.
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