Melbourne, Australia’s Dreamin’ Wild take some of the bohemian elegance of Jim Sullivan, the mysterious delight of Hopkirk and Lee, the shimmering lugubriousness of the Clientele and the playful beauty of Moose and combine it into one of this year’s great seven inch singles. Doncaster Shadow has a timeless quality about it that you don’t hear too often anymore. They could break up and disappear tomorrow and would have accomplished more than most bands do in a lifetime. Such is the wonder of making just one brilliant single.
A couple of recent shoegaze album lists from Sounds Better with Reverb and Surfing on Steam prompted me to recall those heady days of shoegaze between 1988 and 1994. My recollection wasn’t about the great albums, though there were some, but about the EP’s. Those of us there at the time know that it was all about the EP. Albums were slow to come and often disappointing but the EPs came quick and were often a band’s pinnacle. Often a band would do a brilliant EP and then never reach the same heights on the album, or never even make an album. Here is my list of favorite shoegaze EP’s from that time.
The Boo Radleys – Every Heaven EP (Rough Trade)
I believe this got single of the week in Melody Maker and for good reason. The killer bass line of The Finest Kiss draped over by shards of blistering guitar are a recipe for single of any week. This EP along with Boo Up! and Kaleidoscope make for an unsurpassed shoegaze EP trilogy.
Interesting Info: If you hadn’t noticed this blog is named after The Finest Kiss, the lead track on this EP.
Stream: The Finest Kiss
Sweet Jesus – Real Babe (Rough Trade)
No one ever mentions Sweet Jesus when they talk about shoegaze which is a minor crime. At the time they got tagged as the T-Rex’s of scene. These guys released four ep’s and each one of them is a shoegaze classic.
interesting Info: Many people thought singer Ben Bently was a girl based on his singing voice. He also had a beehive hairdo.
Stream: Real Babe
Chapterhouse – Mesmerize (Dedicated)
Mesmerize was kind of a psychedelic curve ball after the blissed out Whirlpool album with its piano riff and tuba blasts. This is the pinnacle of the Chapterhouse discography. Four songs pushing the boundaries of what people thought shoegaze was.
Interesting Info: My roommate in college played this EP so much he nearly made me hate it. He would not only play it to death, but sing Mesmerize a capella at top volume. Weird.
Headtime – Have You Heard EP (Cherry Red)
Headtime probably got lumped into the shoegaze crowd because they favored a big guitar sound and had a slightly blurry fish cover for their first EP. The title track features some sitar which may be a first. In any event it’s a much better instrumental choice than the flute (hello Blind Mr. Jones).
Interesting Info: There is very little information to be be gleaned from the internet about this band. Richard Formby produced this EP. Headtime made one other EP called Graham before disbanding.
Stream: I Visualize
Moose – Jack (Hut)
Moose quickly eschewed the shoegaze tag on their first album XYZ, but their first two EP’s are firmly entrenched in the scene that celebrated itself. They would do an about face and get Mitch Easter to produce their first album and it would be brilliant. Not really a surprise since this is brilliant also.
Interesting Info: Moose toured the US opening for the Cocteau Twins in the mid 90’s.
Curve – Blindfold EP (Anxious)
Mining the industrial side of shoegaze, Curve’s first EP was pretty impressive. They had a rapper (JC-001) on Ten Little Girls, Wah Wah guitar on I Speak Your Every Word. The duo of Dean Garcia and Toni Halliday could do no wrong in the eyes of the British Press during the run of initial EPs. The Frozen EP and the Cherry EP soon followed, but didn’t reach the heights of this one.
Interesting Info: Toni Halliday put out a solo album called Hearts and Handshakes prior to forming Curve. Yes it’s as bad as the title suggests.
Stream: Ten Little Girls
My Bloody Valentine – Tremelo (Creation)
No shoegaze list is complete without the godfathers of shoegaze. The Tremelo EP upped the stakes for everyone. These were guitars!?!? They sounded like flutes and sound tubes. Kevin Shields could probably make his guitar sound like purring kitty cat if we wanted to
Interesting Info: I once interviewed Kevin Shields and asked him about his lyrics. That’s why I don’t get paid to do this.
Revolver – Venice (Hut)
Revolver were a trio of teenagers that took a powerpop bent on shoegaze. Their first two EPs (45 and Crimson) were spotty, but the third one really seemed catch them finally living up to their potential. Red All Over is great and their cover of Strawberry Switchblade’s Since Yesterday was a pleasant surprise.
Interesting Info: Revolver released on one album called Cold Water Flat. Singer and guitarist Mat Flint currently plays in Deep Cut.
Stream: Red All Over
Pale Saints – Half-life Remembered (4AD)
A concept EP about life in the womb. This EP was produced by Chris Allison who had recently worked with the Wedding Present and he did make them sound a bit more rocking. This is probably the most straightforward the Pale Saints ever sounded. If you bought the vinyl version of this, it had a freaky hidden fifth track called The Colour of the Sky. To hear it you had the lift up the needle and place it down. Your reward was Ian Masters shrieking at the top of his lungs.
Interesting Info: Masters left the Pale Saints after their next album In Ribbons and Meriel Barham took over singing duties on the band’s final underwhelming album Slow Buildings.
Stream: Half-life Remembered
House of Love – Christine (Creation)
This may be a stretch, lumping the House of Love in with the shoegazers, but I would argue that Christine is early and influential in the scene. It’s droning vocal and buzzing guitars would be a blueprint many subsequent bands would use.
Interesting Info: This EP featured Andrea Heukam who provided vocals on the Hill. She left the band soon after.
The Bardots – Pretty O (Cheree)
Veering toward the dreampop side of shoegaze the Bardots featured the feminine sounding Simon Dunford on vocals. Similar to Sweet Jesus, many people thought he was a girl when they heard him sing. The Pretty-O EP featured big hooks and great guitars. The younger me didn’t appreciate them as much as the older me does now. Both of their albums Eye Baby and V-Neck are worth seeking out as is their first single Sad Anne.
Interesting Info: The Bardots featured Krzysztof Fijalkowski on guitar, the brother of Adorable singer Pete Fijalkowski.
Stream: Pretty O
Ride – Ride (Creation)
This came out in the US on the Smile compilation which combined this EP and the Play EP. For my money Chelsea Girl and Drive Blind are unbeatable. Drive Blind would become Ride’s You Made Me Realize.
Interesting Info: Andy Bell went on to play in the mostly awful Hurricane #1 and then play bass in Oasis.
Stream: Chelsea Girl
Swervedriver – Duel – (Creation)
Up until Duel I didn’t have much interest in Swervedriver’s take on Dinosaur Jr. With Duel they started to forge a new path. This three song EP had no filler, but it was easy to overlook Plane Over the Skyline and Year of the Girl due to the fact the Duel blistered like a star in very close proximity.
Interesting Info: Swervedriver have a history of bad luck with record labels. They were dropped from Creation a week after the release of their best album Ejector Seat Reservation and then after signing with Geffen in the US, they were dropped just before their fourth album was to be released. It would be years before that album 99th Dream would see the light of day.
Lush – Mad Love (4AD)
Lush never really lived up to the promise of their first three EPs. Scar was the second in that line and if featured Lush free of expectations. De-Luxe and Downer are blissed out and blistering and Thoughtforms is a great shoegaze lullaby.
Interesting Info: After Lush broke up Miki Berenyi retired from bands, though she has been coaxed to come out of retirement briefly by Eric Matthews and Hard Skin. Emma Anderson went on to form Sing-Sing with Lisa O’Neill.
Slowdive – Holding Our Breath (Creation)
Slowdive were the downers of shoegaze. The mellow youngsters who sounded like they had been doing this sort of thing for ages. This EP featured one of the best Slowdive songs Catch the Breeze which would show up later on their first album, but it also contained the equally mesmerizing Shine and a cover of Syd Barrett’s Golden Hair.
Interesting Info: Slowdive would later become a techno group on their final album Pygmalion and then leader Neil Halstead would junk all of his effects pedals and go alt-country in Mojave 3.
Telescopes – Celeste (Creation)
Telescopes were the shoegaze band that never seemed to get any respect. They were on the right label and they had good songs, but never seemed to catch on. Maybe it was because their albums never reached the heights of the songs on the Celeste EP and its precursor Everso.
Interesting Info: The Telescopes are still around and are playing the Comet here in Seattle April 15.
February Fourteenth – Lilys (Slumberland)
The Lilys first incarnation was as a shoegaze band. Their first single may have been unfairly disparaged for sounding too much like My Bloody Valentine. Criticisms aside, it was uncanny how they took the MBV baton and ran with it on a shoe string budget.
Interesting Info: Lilys went on to morph into a mod pop band and scored a hit single and a Levis advertisement in the UK.
Stream: February Fourteenth
Ecstasy of St. Theresa – Fluidtrance Centauri (Free)
Shoegaze knows no borders. This Czech band were always on the perifery of the scene due mostly to geography and their tendency to change their sound every couple of releases. All three songs on this EP have classic quiet-loud moments that shoegaze fans cannot get enough of.
Interesting Info: Ecstasy of St. Theresa teamed up with British Sea Power in 2004 to release the single A Lovely Day Tomorrow sung in both English and Czech.
Velocity Girl – My Forgotten Favorite (Slumberland)
Not many American bands contributed anything new to shoegaze, but Velocity Girl with this single seemed to take what was going on in the UK and put their own mark on it. My Forgotten Favorite is a classic and the b-side Why Should I Be Nice To You is no slouch either.
Interesting Info: The original singer in the band was Bridget Cross. She left the band after the release of their first single I Don’t Care If You Go and went on to join Unrest.
Stream: Forgotten Favorite
Bleach – Snag EP (Way Cool)
Bleach were briefly shoegaze and then they became something else and then they broke up. The Snag EP was a perfect snapshot of that sweet spot. Bethesda still holds up after 22 years.
Interesting Info: I got nothing. They were from Ipswich?
Adorable – Sunshine Smile (Creation)
I always thought Adorable were more Bunnymen than shoegaze, but consensus says that they were shoegaze and who am I to argue? This three song EP is packed with two of the band’s best songs. Sunshine Smile crashes into the room and totally wrecks it and then A To Fade, which singer Pete Fijalkowski says was heavily based on the Go-Betweens Cattle and Cane, heals all the wounds.
Interesting Info: Fijalkowski went on to form Polak with his brother Krzysztof. He has most recently been working with House of Love guitarist Terry Bickers.
Stream: Sunshine Smile
Catherine Wheel – Black Metallic (Polydor)
One of the great things about these shoegaze EP’s was that the bands treated them it might be their last release, packing them with great songs. Catherine Wheel were no exception. Everyone knows Black Metallic, but buried on this EP is Let Me Down Again which I always thought was as good as the title track.
Interesting Info: Catherine Wheel were the most successful UK shoegaze band in the States, probably due to their heavier tendencies and willingness to tour. Singer Rob Dickenson is the cousin of Iron Maiden’s Bruce Dickenson.
Stream: Let Me Down Again
Nyack – Savage Smile EP (Echo)
This EP was so good and then then the follow up album was kind of a let down. Nyack were from Nyack, New York (duh), but didn’t sound it. They sounded english and they had an English record label. The only give-away that they were from NY was Blondie cover. That aside This EP’s other three songs were all aces.
Interesting Info: Before they were called Nyack, they went by Aenone and released a similar sounding EP on Kramer’s Kokopop label.
I was going to do a list of my favorite records of the 00’s, but as I was getting my list together I started to realize it was kind of boring. Really, how many music blogs do you need to tell you the same thing? That’s when I began thinking about the records that came out over last 10 years that I thought were criminally ignored, or just didn’t seem to get a fair shake. So what I’ve got for you is a list of my most underrated albums of the decade. Every one of these records shoulda been a hit, but because the world is a cruel, cruel place they never were.
Putting this list together was a lot of fun, because it allowed me to make amends for some records that I missed the year they came out. There is not a year that goes by that I don’t discover my favorite album from the previous year in March of the next year. And so it goes….you’ll find a lot albums on this list that never made one of my year end lists from the past ten years. I can assure you though, that everyone of these would make my top 100 albums of the aughts. I just thought focusing on the underdogs would be a little more interesting than seeing some list with the same records as every other list out there. Hope that I have half-succeeded. Oh, and yeah, I know that the decade is officially over at the end of 2010, but I start counting at zero.
This was one of those buys where I was in a record store flipping through CD’s and saw a cover that caught my eye. I remember opening it up and seeing that Dan Treacy of Television Personalities had written the liner notes and thinking, that it’s got to be good. Unheard, I bought this at some overpriced record shop in Paris (I’m so cosmopolitan) and it soon thereafter became my favorite record for months on end. It’s got elements of Mazzy Star and shoegaze, but seems to carve out it’s own space making it kind of unclassifiable and kinda special. They would put out three more albums in the decade, but none came as close to perfection as Lank Haired Girl. To this day, I have no idea which one is Jo and which one is Danny.
It’s just like Mark E Smith to come back from near disaster with an amazing album. After being arrested for assault of his then girlfriend Julia Nagel in New York and having his long time band quit on him Smith returned with an entire new band and the Unutterable. He’d done it before, releasing Extricate after Brix left him, so there is some sort of precedence. It’s amazing how the Fall can still sound vital some 30 years into it, but they do, and this is example number one for the aughts (see also Heads Roll and Country on the Click).
Moose never officially broke up, so I still hold out hope. High Ball Me was their fourth and last album. All three previous records were criminally ignored, so why should this one be any different. The perennial underdogs, Moose made such great albums to the delight of those lucky enough to hear them. High Ball Me is no different except that this one got released not only in the UK but in the US, a first for the band. There was no slide in quality on High Ball Me. Incorporating Nilson, Buckly, Hazlewood and House of Love into an intricate wall of sound that Phil Spector would envy. It’s downright lush!
Before Broadcast became a laptop band, they were actually a real band and The Noise Made By People was the culmination of their autumnal space-age pop. It had an icy cold and unfeeling demeanor like Nico, but there was a glow to it like the Mamas and the Papas and a fiery intensity like Jefferson Airplane. You get the picture, it has a definite 60’s feel to it, but it has it without sounding too derivative. I remember seeing them at the Knitting Factory in LA for their tour to promote the album, and Broadcast as a full band in a live setting so greatly surpassed what they had put down on tape. Trish Keenan’s voice, the retro light show, the noise created by the keyboards, but mostly the guitars filled the room with a hazy shade of winter. Take note chillwave/laptop groups, you need a band, otherwise it’s just watching a guy clicking a mouse.
Some of the sounds on Goldfrapp’s debut album are otherworldly. It’s all strings and computers, but it sounds like it came from outer space. Outer space circa circa 1960, something akin to Peter Thomas’s soundtrack to Raumpatrouille. Alisson Goldfrapp looks like she could have been a Bond girl and has a voice to match. Before making Felt Mountain with Will Gregory, she had appeared on albums by Tricky and Orbital, so this record and its cinematic trip hop didn’t come out of nowhere, but the yodeling kind of did.
You know what I do with this album? I probably shouldn’t say this, but I only listen to the Amy Linton songs. No offense to Wyatt Cusak (he sings 3 of the 14 songs on the album), but I’m a sucker for that girl group sound augmented with a big wall of guitars and that is what Linton specializes in. The Aislers Set are kind of the Rosetta Stone of Slumberland, the linchpin of the label that links the seminal Black Tambourine to the current crop of bands like Lichtenstein, Brilliant Colors, Grass Widow, and Frankie Rose. If there was a song that came out in the year 2000 that is better than the lead off track The Way To Market Station, I have yet to hear it.
Admittedly Happiness from a Distant Star is not the best Animals that Swim album, that honor would got to I was the King, I Really Was the King, but Animals that Swim are so good that their third best album (they only made three) is better than anything someone like Sufijan Stevens could ever, ever come up with in his wildest dreams. Singer Hank Stars is like the UK version of Silver Jews’ Dave Berman. He paints vivid pictures of the down on their luck and downtrodden characters and does it with such an eye for melody and melancholy that you find yourself swept up in stories about Uncle Mackie, aliens and letter writing.
Up until Know By Heart, American Analog Set were background music to me, but with this record they seemed to grow some teeth and develop a pulse. It’s still mellow, but there is a welcome tension to their songs. The band create a hypnotic swirling sound that is so crisp and clean you could eat off of it. Although the playing is at the forefront (the drumming is lovely), front guy Andrew Kenny comes to bat with some really strong pop songs. The Postman is pretty unforgettable and Aaron & Maria is the poppiest thing that AmAnSet have ever laid to tape.
Back in 2001 I wrote that the Tyde answer the question: What if Felt were from Southern California? Darren Rademaker is an obvious fan that Birmingham, UK band, but you can also tell he knows his local history, showing an appreciation of the Byrds and Buffalo Springfield. When this record came out in 2001 I was living down in San Diego, the perfect place to hear it. Once was meant for the beach, surfing, getting good and high and eating at Swami’s Natural Food Cafe on a sunny Encinitas day.
Japanese pop alchemist Cornelius is a master of precision and layering on texture after texture onto the frame of a pop song. A song might start with a water drop, become a trickling stream and end up a waterfall. Each part taken by itself seems so basic and simple, but as they layer upon one another the complexity in it all becomes apparent. Cornelius has this uncanny ability to create these engineering marvels and still make them sound vibrant, catchy and exiting. If you ever have the chance to see him live jump at it, you will not regret it. A true master builder at work.
Lesser Matters has not lost a spec of goodness since I first heard it back in 2003. I never get tired of Johan Duncanson’s sleepy singing over top of the band’s over-modulated drums and feedback tinged guitars. I hesitate to call it Swedish shoegaze, but they do seem to worship at the alter of the Mary Chain, albeit with synthesizers and cheap drum machines. Later on in the decade Sophia Copula would put their music into movies and they would become somewhat more well known, but the band still seem to be a secret.
Any one of the A-Frames records could be on this list. The Seattle goth-punks birthed three albums in the early aughts and every single one of them was worthy. Their paranoid, doom-laden, angular take on punk rock comes off as it was made in A Brave New World. Everything is sterile, there is no emotion, and the skies are gray with nuclear fall-0ut. Their second album, intuitively titled 2 has just enough pop juxtaposed with dread to make it a winner. The band would go on to sign with Sub Pop for their third album, before drummer Lars Finberg would leave to concentrate on his other band the Intelligence. The A Frames are what so-Cal punks DI would have been if they lived in the Pacific Northwest deprived of sun, surf and girls. Feel the angst!
Blur. Bleh. Blah. Kind of sums up my opinion of Blur as their career progressed. I just kind of lost interest. Blur guitarist Graham Coxon always seemed like he was the conflicted member of the group, not really embracing their super-stardom, keeping his foot in the lo-fi with his solo albums. After he left the band, his records moved away from the feedback drenched jams to became a lot more structured and pop focused and Happiness in Magazines is easily his best record. He drafted Blur producer Stephen Street to twiddle the knobs and he showed up with his grade A songs. There’s the straightforward pop of Spectacular and Freakin Out, but he delves into the blues on Girl Done Gone and is downright funny on Bottom Bunk. I think with Happiness In Magazines Coxon reaches a level of comfortable with who he is and it shows.
Katerine– Robots Après Tout (2005: Rosebud/Barclay)
When this came out, I called it a freak-show in a jewel case. I stand by those words, but I mean them in the best possible way. Just by glancing at the cover you might get the idea that this is not your normal album. Yeah, Katerine is French, so maybe it was cool to walk around in pink silk turtlenecks and women’s underwear back in 2005 somewhere in France, but I kind of doubt it. Philippe Katerine’s records seemed to be getting stranger and stranger and this is the wacked out amazing culmination. I think I like the really over the top songs the best. The club-y strangeness of Borderline, the disco of 100% VIP and the funky Cornelius-like Qu’Est-Ce Qu’Il A Dit ? No matter what shade of strangeness you gravitate to, you will undoubtedly find it on this record and probably end up dancing to it.
Rough Bunnies – Rough Bunnies Saved My Life (2005: Self-released)
Frida and Anna are the Rough Bunnies. They’ve also been The Flame and Inside Riot, but Rough Bunnies is their favorite band. They’re kind of Riot Grrl, they’re kind of Moldy Peaches, but mostly they’re Swedish punks releasing cd-r’s. The songs are immediate and the Bunnies greatest concern seems to be to get it on tape before they forget it. So everything has a ramshackle, but endearing feel to it. The Bunnies are prolific as they are obscure, popping out CD-r’s like, umm rabbits. They nearly signed to Alan McGee’s Poptones and Fine Arts Showcase did an entire album of Rough Bunnies covers. Where do you start? Rough Bunnies Saved My Life might be their best album, and if you like it there’s a treasure trove waiting for you.
Ahh, the jangling 80’s. You know the saying, they don’t make ’em like they use to. Human Television take it to heart and conjure the ghosts of the Rain Parade, Dumptruck, the Feelies and Let’s Active. They write melancholy sounding songs punctuated by bright chiming and jangling guitars. It’s a tried and true juxtaposition, and Human Television do it so well that they are excused for not bringing something new to the table. Each and every one of these songs will make you shake your head in wonder at how good it is. How good? To paraphrase the album: sunshine on your face, room spinning round your head good.
2000 marked the release of the first Go-Between album in 12 years, Friends of Rachel Worth, and 2005 marked the release of this, the final Go-Betweens album because of Grant McClennan’s sudden death in 2006. On Oceans Apart, McClennan was ever-present with his classic wistful pop songs as always. He always seemed to be able to reel off perfect pop without even trying and Boundary Rider and Finding You are among his best. But, on Oceans Apart it was Robert Forster that put this record on the map as my favorite Go-Betweens album. His frantic opener Here Comes a City, historical reminiscing rampage of Darlinghurst Nights and beautiful Lavender put this Go-Betweens album in the hallowed company of 16 Lovers Lane.
I can’t help but think that if this album was released two or three years later it would have been much bigger. Of course I’m usually wrong about things like this, but singles like Nothing But Green Lights and A Little Word In Your Ear mine similar veins as what James Murphy gets called a genius for. Vek was in his early 20’s when he made We Have Sound, writing and playing everything. It was such a stellar debut, and the future looked so bright the guy was wearing shades. That was 2005, oh Tom where have you disappeared to?
The number one album of 2006, well at least here at the Finest Kiss. Obviously the band were nonplussed about the dubious honor, deciding to break up in early 2007. Verboten Fruchte is probably the German band’s most fleshed out record with lots of keyboards and even strings and horns. Like Love circa Forever Changes they’ve thrown off their garage rock roots and blossomed into a more nuanced and textured way of doing things. All of that fancy stuff can’t mask the garage rock origins of the band, it just shows their restlessness, and wanting to stretching out and trying new things. If you’re like me, this record will have you reaching for your German-English dictionary, so you know what exactly you’re singing along to.
There is one group of people who I know loves this record. Advertisers and marketing dickies have latched onto Below the Branches and won’t let go. You can’t turn on the TV these days without hearing a song from it. Kelley Stoltz can sell other people’s products with his music, but has trouble selling his own records. Below the Branches is chock full of classic pop, one listen and you’ll want to start a marketing company.
Holland – The Paris Hilton Mujahideen (2006: Teenbeat)
Almost coming off like a Guided By Voices record with short songs that are so catchy you can’t believe he only made them a minute and a half long. Shards of guitar crash down on echo-y bass and keyboards as one man band Trevor Kampman croons with an icy disconnectedness. The production is so clear, yet the songs are so jarring and choppy that they literally reach out and grab and shake you. Kampan is jaded, and down about the state of the world. Paris Hilton Mujahideen is good illustration of the world back in 2006. Not much has changed.
BOAT– Songs That You Might Not Like (2006: Magic Marker)
Seattle bands that love power pop and have a sense of humor, may sound like an oxymoron, but BOAT picked up the torch that was passed to them from a rich lineage that includes the Young Fresh Fellows, The President of the United States of America, Harvey Danger and even Mudhoney. Songs That You Might Not Like wasted no time in firing salvo after salvo of funny, sad, heart-on-the-sleeve power pop. How could you not like a bunch of guys that drink too much soda, cruise in minivans, destroy noise rock bands, get called reptile boy, have ninjas sitting on their couch at home, and use skeleton keys? This was their first record, and they would only get better.
At first I was perplexed by Pants Yell! naming their record after the Young Marble Giants singer and not sounding anything like them. Then I thought, I named my blog after a Boo Radleys song and never write about that song or the band. I won’t deny it, Pants Yell! are twee, but it’s twee with melancholy and attitude. They actually sound equal parts Housemartins and Lucksmiths. Singer Andrew Churchman has an instantly memorable voice and this record equals any album from either of those two previously mentioned bands. The only problem with Alison Statton is getting passed the first song More Purple, it’s so damn good you’ll find yourself hitting rewind and never get to the rest of it.
Pelle Carlberg is a clever fellow. He’s got nothing but bad luck, a wonky wheel on his shopping cart, a crap career as a pop singer, and a broken clock. Carlberg got an ace up his sleeve though, his ability to make his mundane life seem so interesting. He’s funny, self-deprecating, has a better command of English than most native speakers, and has a pocket full of pop songs that will make your ears prick up. In a Nutshell was his second solo album after his band Edson broke up and it’s the one where he put all the pieces together to come up with something that people like Morrissey and Billy Bragg have long since stopped making.
One of the great disappointments of 2007 for me was Electrelane. After making what I would argue is their best album they went and quit. No Shouts No Calls was the Brighton, England band at their most melodic and immediate. The production is raw with the drums nice and in your face, they way Albini made the Wedding Present sound on Seamonsters. The songs contain elements of twee-pop and Kraut-rock combining to form melody driven grooves. They can be gentle and understated like on Cut and Run or lay it all out on songs like Tram 21 and To The East. I hold on to the hope that they really meant it when they said that they were going on indefinite hiatus, and not really actually quitting.
Up until Deuteronomy the Intelligence were decidedly lo-fi, but in 2007 the band’s mastermind Lars Finberg decided to turn up the bass and make a record that didn’t sound like the treble button was stuck at 11. There are elements of darkness that his former band the A Frames excelled in, but the genius of Deuternomy is it’s skewed take on pop that he would later take to another level on this year’s Fake Surfers. Intelligence records are like trip into the head of Finberg, and his world is a weird, wild, funny place place. Weird like the Residents, wacked like Brainiac but catchy as Devo.
Jesse Smith’s likely heros include Nick Lowe, Paul Collins, Elvis Costello and Paul Weller. These names certainly command respect, but the style of power pop that they are so well known for is decidedly out of style these days, and the likely reason that this album got no traction when it came out last year. That’s the only reason I can think of because back in the old days when a record like this came out, it was blasting out of dorm rooms and cars everywhere. Nowadays it’s all about headphone music and records that need to be heard blasting at full volume into the open air suffer.
Actually let’s give Cherry Red a handclap for reissuing Moose‘s first album …XYZ. It’s no secret about this blog’s love of the band Moose, but it is a little known (actually unknown) fact that I was this close to naming this blog Theme From Ace Conroy, a b-side to the Moose single Little Bird. I thought better of it, but only because the Finest Kiss has a better ring to it. A while back I did a short interview with Russel Yates where he mentioned a best of that was in the works, but there was no hint of reissuing the band’s amazing debut album at the time. Back in 1992 when the album originally came out on Virgin subsidiary Hut records it was hands down my favorite record of the year. The album received good reviews on its release, but got labeled with a country tag that seemed to turn the kids off to what was a former shoegaze band. The direction of …XYZ was only hinted at in the initial trilogy of EP’s (Jack, Cool Breeze & Reprise) that preceded the album, and to some people it was too much of a 180 degree turn for such a young band that they seemed to shed fans overnight . The good reviews were more than warranted though, it was a beautifully constructed album with guitars, strings, brass, and whistling. I remember thinking that having Mitch Easter (Let’s Active) to produce the album seemed like an odd choice, but after hearing the record and the new direction in their sound I realized what a brilliant decision it was. According to the liner notes Mitch Easter worked on the record in his birthday suit, though he decided to put some clothes on to mix the record. This album easily ranks up in my top ten of all time.
The new Cherry Red edition contains bonus tracks like all reissues should. The bonus tracks cherry pick the best songs from the three ep’s that preceded the album, but unfortunately leave out the b-sides from the Little Bird single (the only single released from the album) and the limited edition 7 inch that came with initial copies of the vinyl version. The 7 inch contained two covers, Colourbox‘s The Moon Is Blue and Gordon Lightfoot’s Early Mornin’ Rain. It’s kind of a shame that the b-sides on the reissue aren’t totally comprehensive, but just having this unheralded classic back in print for anyone who may have missed it the first time around is a massive feat in and of itself!