SONG OF THE WEEK #39: Bill Drummond - "Julian Cope Is Dead"

Bill Drummond may be known for many things, but he's certainly not known for his solo music career. Though truth be told, there's only been one album, 1986's The Man. After his dance/ambient experiments as The KLF, this record is a true revelation. A diverse and pretty non-threatening collection of originals and well chosen covers - all very charming and melodic.
I know Drummond doesn't think too much of this amusing little attack on Julian Cope, but I personally love it. Clever, catchy and absolutely hilarious. You gotta love those lyrics.

Album review: CAT'S EYES - Cat's Eyes

Highlights: The Best Person I Know, I’m Not Stupid, Face In The Crowd, Not A Friend, Over You

The reason why it took me so long to get Cat’s Eyes’ eponymous record lies in the fact that I don’t much care for The Horrors. A capable band, no doubt about that, but they are also pretty average, overhyped and one of many. So who could have guessed that that band’s singer and songwriter, Faris Badwan, had it in him, a fine collection of exquisite, sophisticated pop compositions?

Cat’s Eyes is likely to be a one-off project where Badwan and Canadian opera singer Rachel Zeffira collaborate on ten brief songs inspired by a number of 60’s girl groups. Think The Seekers, but with a colder and more artsy edge. It’s also a very calculated, very precise affair. For all its lovely vibes and lovely little melodies, Cat’s Eyes doesn’t really work on an emotional level. But you can relate to it intellectually. Subtle pop tunes like “The Best Person I Know” or “Over You” (the catchiest, most immediate song on the album) are more or less perfect, from Rachel’s chilling falsetto to delicate orchestration, and only hollow, atmospheric tracks like the gothic “Sooner Or Later” and dreamy and lethargic “The Lull” let it all down slightly.

Cat’s Eyes is a cold and masterfully executed set of charming and claustrophobic confections that threaten to be style over substance, but deliver enough clever, understated hooks and melodies to win you over. I’d give this one a low eight. It doesn't quite overwhelm you, but you do feel intrigued.   

8/10

Album review: HALF MAN HALF BISCUIT - 90 Bisodol (Crimond)

Highlights: Something’s Rotten In The Back Of Iceland, RSVP, Fix It So She Dreams Of Me, Rock And Roll Is Full Of Bad Wools

One of the very few c-86 bands that are still active (and going strong, too), Half Man Half Biscuit have long entered the phase when they can just keep churning out their well-written, anthemic punk and pub rock singalongs and not think about anything else. 90 Bisodol is clearly their safe phase. And for the fans of the band, they are as thrilling and smart and hilarious as ever.

Basically, 90 Bisodol is a continuation of the Achtung Bono sound. Driving, verbose, folked-up punk with witty lyrics and infectious melodies. “Something’s Rotten…” is a near ideal opener, classic HMHB in their irresistibly tuneful swagger. Elsewhere, there are some brilliantly bitter acoustically strummed ballads (“RSVP” could be their loveliest ever; “Fix It So She Dreams Of Me” sounds a lot like “Joy Division Oven Gloves”, yet how can you resist), but it’s the closing ominous groove of “Rock And Roll Is Full Of Bad Wools” that sounds particularly impressive. Terrific piece of spite and sarcasm.

The sad news is that 90 Bisodol is still somewhat derivative. There are songs here that sound too safe, too familiar (hence a mere high seven). But in the midst of these addictive grooves and clever lines, you do more or less get what you want. Half Man Half Biscuit still offer you a fine and effortless mix of masculine loveliness and punkish literacy.

7/10

SONG OF THE WEEK #38: The Flaming Stars - "You Don't Always Want What You Get"

The Flaming Stars' subtle, soulful take on rockabilly has always struck me as truly impressive and addictive. Theirs is the sound of a lonely, smoke-heavy bar at around midnight. Gorgeously grief-stricken ballads and tight, organ-fuelled rockers, they should definitely be more well-known than they are.    
So far Max Decharne's (who's also a contributing writer for Mojo) band has released seven consistently brilliant albums that are more timeless than timely. This one's cleverly titled "You Don't Always Want What You Get", and it appeared on their 2001's album A Walk On The Wired Side. This stuff is hair-raising.

Album review: KING'S DAUGHTERS & SONS - If Then Not When

Highlights: Sleeping Colony, Dead Letter Office, Volunteer

King’s Daughters & Sons might well be the quirky modern idea of a supergroup, for this Kentucky-based indie-folk/slowcore project consists of members of a bunch of contemporary bands. But those are way too obscure to mention. Also, if you are familiar with bands like Shipping News, chances are you won’t really be bothered with this review in the first place.

The music contained here is slightly Low-esque, but with significantly rougher edges. These are gorgeous yet complex ballads full of dark, ominous undertones (courtesy of the somber lyrics and equally bleak mood). Instrumentally, If Then Not When is impressive. The opening “Sleeping Colony” is this sinister, pretty little tune, but the ecstatic piano chords and gruff guitar tones of the second part elevate the whole thing to a near-monumental level (the same winning formula applies to most of these songs). Beautiful acoustic guitars of the slow burning epic “The Anniversary”, the heartfelt female vocals of the exquisite “Arc Of The Absentee”, the celestial yet sinister harmonies of the closing “Open Sky”, it all makes for a compelling, engaging listen.

A well-executed collection of dark, desperate ballads that unfurl like half-forgotten, but well-written short stories. If Then Not When is a fine mix of gothic atmosphere and obscure, but inescapable emotional substance. King’s Daughters & Sons sound tight, confident, and adventurous – so maybe they are a supergroup after all.

8/10