SUMMER 2006 a women in music compendium wears the trousers

thea gilmoreon making her marx

plus: lisa germano, juana molina, the dresden dolls, the cardigans, joan as policeman, wopsapp, broadcast & lots more wears the trousers ust when you thought that magazine summer had pretty much gone and shoved its head under a www.thetrousers.co.uk www.myspace.com/wearsthetrousers blanket of cloud for another ten J months, here’s something that will 17B Church Crescent Muswell Hill hopefully warm your hearts and London N10 3NA minds – the very sorrily delayed, +44 (0)20 8444 1853 so-called ‘summer’ issue of Wears [email protected] The Trousers. Yay! We haven’t just been twiddling our collective thumbs, Editor Alan Pedder in case you were wondering. This issue comes with a distinctly British flavour as we went undercover to seek Deputy Editor out interviews with some of the UK’s brightest songwri- Trevor Raggatt ting talent. There’s so much out there! Singer-songwriter Associate Editors showcases are springing up all over the country and the Clare Byrne, Stephen Collings sheer volume of activity at grass roots level is astonishing. & Rod Thomas A quick scan through the London listings papers shows that the scene is thriving at a rate perhaps not seen since Wears The Trousers magazine is a completely free, not-for-profit, blood, the big ol’ folk club boom of the mid-Sixties. Of course, sweat and tears included resource those rare little diamonds will insist on sitting in amongst for all that is new, essential and downright exciting about the the rough, but you’re in the best place to get your heels contribution of women worldwide pointed in the general direction of rightness. to the music industry. All written content is copyright of the credited As you’ve probably noticed, our cover star this issue author. Picture credits are given is the fantastic Thea Gilmore, who, to my mind at least, where known. If we have used one of your photos without crediting is one of our all-time greatest homegrown talents. you, please inform the editor via With her seventh album, Harpo’s Ghost, just out to rave [email protected] reviews (again) and her first baby due in November, 2006 is turning out to be a landmark year for her. Somehow I Contributors doubt she’s going to take it any easier next year so you Angelina Adsmill, Aaron Alper, Emily Anderson, Russell Barker, can reasonably expect her to be back within our pages in Ian Buchan, Anna Claxton, Tiffany the not too distant future! Daniels, Robbie de Santos, Alex Doak,Matthew Hall, Jo Harrison, The Brit remit doesn’t stop at singer-songwriters, Stephanie Heney, Lisa Komorowska, however, and we’ve tucked in a few of our favourite Andrzej Lukowski, Jean Lynch, Anja McCloskey, Scott Millar, bands, including Psapp, Tender Trap and the always Gary Munday, Loria Near, Helen brilliant Broadcast. Elsewhere in the issue, we go truly Ogden, Alex Ramon, David Renshaw, international with interviews from Canada (Emily Lynn Roberts, Adam Smith, Marc Soucy, Danny Weddup, Bryn Haines), Argentina (Juana Molina) and Sweden (The Williams and Paul Woodgate Cardigans), as well as a clutch of US folk we just couldn’t Design & Typesetting say no to – Lisa Germano, The Dresden Dolls, Joan As Alan Pedder, Thea Raggatt Police Woman and more. Illustrations Eliza Lazy, Trevor Raggatt Hope you enjoy it. We’ll try not to be quite so tardy next time. Special thanks to Michael Banna, Gillian Masland ALAN PEDDER, Editor wears the trousers is proud to be involved in the digital preservation work of the UK Web Archiving Consortium [email protected] in association with The British Library & The Women’s Library contents interviews 04 the cardigans 07 emily haines 08 rainer maria 10 the dresden dolls 14 inara george 16 joan as police woman 19 mia doi todd 22 tender trap 24 psapp 26 lisa germano 30 juana molina 32 the puppini sisters 36 broadcast 41 lou rhodes 42 thea gilmore 48 nerina pallot 50 astrid williamson 54 amy wadge 57 stephanie kirkham features 13 can men be feminists? 34 so long sleater-kinney 60 a buyer’s guide to aimee mann reviews 63 new albums 84 reissues 86 imports 88 film & DVD 90 live lisa germano page 26 the Cardigans the yells like

teen spirit

h, the fickle world of fashion. You’ve been playing lots of festivals this believe you’re the best band in space. So we Back in 1998, when wearing a summer – including one in Moscow and think that everybody else is fucking stupid! button-up cardie down the local one in Serbia. You’ve even got one coming You have to think like that to be able to Ashops was likely to get a man pelted with up in Belarus! Is it exciting going to places work like we do. Werthers Originals and cries of ‘grandpa’, slightly off the beaten tourpath? How Swedish band The Cardigans were riding do you think the crowds will compare to I saw you at T In The Park in 2003 and you a wave of critical acclaim and hurtling Europe and America? didn’t play Lovefool and you made fun of down a US interstate in an open-top We’ve been several times to nearly the guitar sound in My Favourite Game. Do convertible with one mother of a death everywhere, but not to the former you still feel like that about the old stuff? wish and scant regard for the safety of Yugoslavia or Russia, so it’s great! It’s still No, I don’t actually anymore. I made fun others. OK, so that last bit didn’t really a little shaky and always such a hassle. of that guitar sound – it is quite fucking happen but that was a good video, and, Twice we’ve planned to go to Russia but it annoying, isn’t it? – but it works! I like more importantly, a damn good song. hasn’t worked out. There are visas and the music when it’s sort of verging on being And the public agreed, giving the band equipment might not get in – it’s a gamble, irritating. But these days to play Lovefool their longest run of hit singles to date but it’s always beautiful to play that kind would be like playing a cover. It’s actually and catapulting them to the levels of of place because the people who arrange ten years old and we’ve made so much international success that their opinion- the festivals and all the people trying to music after it. It would make such a break splitting, faux-cutesy 1996 single Lovefool get a scene going are so determined and in the set, it would be awkward. And had previously hinted at. working so hard and it feels great to take actually we’ve made experiments almost Fast forward to 2006, however, and part in them. to see if people would miss it and people things couldn’t be more different. The don’t, you see. People notice it’s not there, garment is back in a big way while The You finally came back to play headline but they don’t really miss it. So I think Cardigans themselves can hardly get dates in Britain earlier this year. Did you everybody’s happy this way. arrested. Super Extra Gravity, their latest enjoy being back? opus, peaked a whopping seventy places Yeah, it was about time really. I think we You’ve described Super Extra Gravity as an below Gran Turismo’s #8 high on the UK could have with the last album [2003’s “obnoxious teenager”. After thirteen years album charts, despite an equally killer Long Gone Before Daylight] as well. It’s together, do you think the band has finally single in the shape of I Need Some Fine frustrating to have had such commercial hit puberty? Wine & You, You Need To Be Nicer and a success on a major label, then just because [laughs] Yeah, I guess so! Thirteen years… dazzling array of moody, petulant tunes we are not selling the same amounts [people that’s when you’re at your height of your full of surprises and curious twists. What in the UK] think we’re gone. And judging obnoxious puberty, right? the hell is wrong with people’s ears? by our website activity, we’re not! We’ve Oh well, consider the UK a write-off played for such a long time that we’ve got Do you feel obnoxious now? for now, but with the long-delayed North a fanbase who’ll come anyway. The British Kind of, I don’t know what it is. I’m afraid American release of Super Extra Gravity market is very novelty based, that’s what it it’s some sort of late thirties crisis, the last just around the corner, there’s a chance seems like to me. I feel bad for those bands glances of youth, you know. that this neat little album might just find that get hyped. It doesn’t really annoy me, the international audience it deserves. because I know by now that’s how the So do you feel like you were looking to the In honour of this, Robbie de Santos industry works, but it’s frustrating in a way. future and the past for this album? It does caught up with singer Nina Persson for a We feel like we’ve come such a long way seem to hark back to the harder-edged brief chat whilst on a recent promo trip and it hasn’t worked commercially for us sounds of Gran Turismo whilst keeping the to the UK where the band right heartily for some reason. I guess we haven’t made more sensitive songwriting of Long Gone rocked the crowd at V2006 with a slick any compromises at all, so it’s a conscious Before Daylight firmly in place. and stylish performance. American choice we’ve made as well. But of course, Hmm, I don’t really know. I mean, I think readers, this one’s for you! as a musician, in your heart you always we were looking back in one way

 Wears the Trousers magazine Summer 2006  because we made the decision to go back that other responsibility. They learn to such a safe, small, lovely concept. There to our old producer [Tore Johansson]. It’s appreciate it a whole lot more. was nothing to lose and I had a great time. not really like we left him, we made one And if something similar came up, I might record without him and then we went Is the tour bus a giant kindergarten then? take it. I’m not an actress and there are so back. I think it’s that we realised he does No, they just come and visit once in a many much better ones out there. But I contribute a lot of essential things. We while, and I don’t blame them for not had fun!

the Cardigans the listened to the old stuff and realised wanting to. I would never go on someone he’s quite inventive, so that’s a big part else’s tour. It really sucks if it’s not your Do you think the band’s individual of what we’ve got. own. So they’re at home. projects have helped you stay together? One new aspect is that, four or five For us it really was a good thing. years ago, we actually learnt to play our You starred in your first film recently Everything that we’ve done outside the instruments. We discovered rehearsing! playing a Finnish tango dancer in God band – side projects, babies, university, We used to think rehearsing was for Willing [just out on DVD in Sweden with movies – it’s important because you pussies, but now we’ve actually realised English subtitles, hooray!]. I haven’t seen it should never feel stuck or that you’re it can make a huge difference. I think one yet but apparently you sing a bit in Finnish doing it because everybody is expecting part of where we are moving to is that we – was that a strange experience? you to. If you are, then it’s not going to are sort of using our skill to play more You know, I don’t even speak Finnish at be good at all. It’s a terrible cliché but our than we dared to before. We used to be all! I don’t understand a word of it – it’s band is a marriage that really benefits much more production based and now a really strange language! But I’ve always from cheating; it keeps us impressed with we’ve become a little simpler because been sort of fascinated by music sung in each other. When one of us goes away we’re a lot more and does something confident now that that’s really fantastic things sound fine we’re like ‘whoa! when we just play, come back, we want you know. you here!’

Three of the boys After six albums became new fathers together, is there any- during the making thing The Cardigans of the album. That still want to achieve? must have really Are you already thin- affected the way king of another album, you worked! or do you have other We obviously had goals that you want to to be a tiny bit pursue first? more structured in We’ve got some dates working. I mean, coming up in South the last record we America and that’s made we spent amazing, places we about nine months want to go. I’m really on the bottle, excited. I think it’s working totally at a big enough goal in random, any time itself to just continue at a whim. But and make sure that this time we worked 9am to 6pm, twelve words that don’t mean anything. I’m a there’s always a point to us making days in a row, then a week off, then huge fan of the Cocteau Twins and I love records. I never ever wanna continue we did another twelve days. We were the way [Liz Fraser] just made up languages. just because we have a record deal. I very structured like that. The amazing So, for me, it was the same sort of appeal. want to make more records that make thing about it was that, because people It’s a great challenge to sing something sense, in a way. had responsibilities at home, once we and the words just become sounds. The fun thing is that when you start got into the studio we went berserk! Even so, I knew what the song I did to tour a record like we did in March, The inspiration just came immediately was about and I knew what I was saying. you notice immediately how you start instead of sitting, semi-drunk, getting I had a lot of coaching from Finnish to develop because you are taking the frustrated just waiting for it. This time singers and radio presenters on how to previous record to a new inbetween we could actually work at 9am after a pronounce things. land. Recently, we started to touch pot of coffee, it was sparkling. And it’s on the subject of what we wanted to quite nice, because when you’re younger Could you see yourself taking a bigger do. We were listening to some music you think everything just dies when you part in a film at some point in the future? and we were like ‘I wanna go in this start a family and things. Maybe, you know; at least now I have direction!’…I’m not saying what but I’m And I’m one of the ones who doesn’t a CV. I don’t think I did an amazing really excited! n have children yet, so I’m the one who performance. My part in that film is not does things that the other guys wouldn’t. based on amazing acting, I was just a Super Extra Gravity is released in North But, on the other hand, they are kind made-up imaginary creature. One of my America through Nettwerk Records on of funnier people because they have best friends was the director so it was September 19th.

 Wears the Trousers magazine Emily Haines

washy production and keyboards set firmly to ‘wibble’. Certainly there’s nothing that’s a patch on Broken Social Scene’s Haines- starring Anthems For A 17 Year Old Girl. See Metric live, though, and for a fraction of a second the band is drowned out by the sound of jaws hitting the floor. They’re phenomenal, anchored by a super- tight rhythm section and Shaw’s girder- like riffs. All of which is comprehensively overshadowed by Haines: a lanky raygun, blasting the audience with feral synths and snarling vocals, you wonder what the hell she was playing at in the studio. Whirling like a microskirted dervish, she manages to simultaneously combine unquenchable cool with the unhinged appearance of a drunk at a wedding. It’s not an unattractive look, and certainly her religious devotion to the miniskirt (combined with what a more downmarket publication than Wears The Trousers might describe as ‘nice pins’) has raised the band’s profile immeasurably in the US underground press. Chart words by Andrzej Lukowski Attack magazine even put an endearingly photo by Candace Mayer dishevelled Haines on its front cover under the heading Sexiest Canadian Musician. t’s hard to say whether it was a scream therapy and/or an exorcism. “Magazines love to manufacture meaning, brutal time for everyone,” ponders Otherwise, imagine that band, only twice it cracks me up. Everyone should remember Metric’s Emily Haines, “but for as popular. Then double it. Times two. not to take them too seriously. Guys always “Ime, I just remember hearing way too much Well dear reader, Metric are even more wear pants. Why wear them so religiously?” Craig David everywhere.” popular than that. Er, approximately. she ripostes, not unreasonably. The beanpole frontwoman is reflecting Quite why isn’t immediately clear. In fact, the next time we see Emily on her time spent living in London. In its Certainly a big plus has been Haines’ Haines she may cut a very different figure. original incarnation, Metric was a pair involvement with the revered Broken Perhaps encouraged by her old mucker of Canadian exiles – singer-keyboardist Social Scene collective. Friends for over Amy Millan, whose Honey From The Tombs Haines and guitarist James Shaw – living a decade with many of BSS’s myriad album was released earlier this year, Haines in New York. But in 2000, after two fairly members (in particular Stars vocalist has a solo record due out in the autumn. miserable years loitering in the Big Apple, Amy Millan), she’s had ringside seats “The album is called Knives Don’t Have Chrysalis Records saw the commercial to the Canadian indie renaissance. “It’s Your Back,” she says, “and it’s a collection potential of the duo’s steely synth-rock and a genuinely great time for Canadian of cinematic piano compositions recorded flew them over to the UK so as to turn them music,” she enthuses. “Unlike artificially over the past four years. Metric will not be into huge stars. Naturally, the major label hyped scenes, what you’re hearing out of taking a hiatus. Since we were kids Amy screwed up miserably, and Shaw and Haines Canada now is the result of many years of and I have always been avid songwriters, retreated to Brooklyn to lick their wounds love and work from a whole community and both our albums are long overdue.” (and pen a mildly bitter song called London of lifelong friends. It’s amazing that Having been rejected here once Half Life). [Broken Social Scene] have all kept our already, taken the best part of a decade A full answer to the question ‘what childhood friendships alive for so long to break Canada, and with a solo album happened next?’ would probably be and that people appreciate the sound of to deal with, it’s hard to imagine Metric extremely tedious; better Haines’ own all of us crawling on top of each other in are going to find time to ram Live It Out pithy assessment: “We just kept doing a room. The value of those people in my down the UK’s collective throat. But this what we had always been doing and more life is immeasurable.” is a band on a roll, and it can only be a people started listening.” Which doesn’t alter the fact that, matter of time before they finally harness In Canada, Metric (now a Toronto- listen to either of Metric’s albums, 2003’s their live energy into studio potency. Fate based quartet) are big. Really big. To get Old World Underground, Where Are You willing, the name Emily Haines will be an idea of how huge they are, try this Now?, or this year’s Live It Out (released in remembered on these shores long after n simple exercise: imagine your favourite Canada last October) and it’s hard to fight Craig David has bo’d his last selecta. Canadian band – unless you’ve been back the urge to shrug. There’s a clutch of hiding out somewhere weird for the killer tunes (the former set’s Dead Disco Metric’s Live It Out is available now on past two years, there should be several and Combat Baby, the latter’s Too Little Drowned In Sound Recordings. Knives Don’t serious contenders. Now, check the name Too Late and Poster Of A Girl), but there’s Have Your Back is released in the US on you’ve come up with isn’t ‘Nickelback’. If it something rather anaemic about both September 26th through Last Gang Records, is, Wears The Trousers recommends primal efforts, with their strained vocals, wishy- with a UK release yet to be finalised.

Summer 2006  

Wears the Trousers magazine Rainer Maria and never more so than with their fifth fifth their with album than so more never and discerning, being and Rainer earnest on simply ‘heartfelt’, are by Maria or gets ‘sincere’ emo flagrantly where tribute But pay to to. wanted most it eclipsed music that the a to monster radio sub-genre commercial indie an emo from before long morphed years, few first those in inclined. poetically course, of always, and exuberant always shrieked, sound half- half-sung, interplay, distinctive vocal boy-girl – own their consequently developed band the so singing, themsel- to lent ves really and respectively) nor (dance drums, Caithlin backgrounds musical Neither Kyle’s drums. on joining them Kuehn William her with between Fischer, split and were duties vocal time and the at been months only three for had bass assumed playing Caithlin Rainer they themselves. moniker fittingly for the so was that and Maria intersection them, the united Rainer was Rilke literature. to Maria German dissolved happened studying and just be Pound had Ezra he band planned writer, his and a be poetry to studying Wisconsin; was of whilst she University workshop the poetry a attending at met first Fischer Kyle bandmate and She tour. very first their on Sleater-Kinney to for opening basement their in Arc, shows Of playing Joan from and Ring Promise The like others with from along sprang, band Midwest her which American the of Nineties scene DIY early the of she length bob, at red speaks wavy a with sprite-like and C The term ‘emo’ was thrown around around thrown was ‘emo’ term The finding miniature aatoh Kes s Together Us Keeps Catastrophe classically trained dancer. Slim Slim dancer. nimble trained a as classically past Marrais’ her to alludes physique De aithlin the bea , Haynes once described them as being being as them described once Mark producer Haynes that recalls Caithlin and up, come Mitchell Joni and Morrison Van artists, inclined poetically other of briefly Speaking example. for me?”, to anathema an technology this is “why for and cage letters” a my is chest “your long”, is gazes skyline two “the - the lyrics abstract tangling in listener effect, euphoric dizzying, a fan early like on faves especially vocals, Caithlin’s and Kyle of act balancing The heady in metaphors. up tied were verses the and raw it. say they how in indeed to or say, have they what other in contrived There nothing with. is trump stage a shared to they’ve bands manage Maria Rainer consistently where that’s any and of said, isn’t what but part said, what’s large always not is A poetry history. plus ten- year band’s the in evolution record new The a marks Records. 2003’s Grunion label since new Drawn release Knives Long studio first their articulated in the album title, threading threading together. songs the title, of all album theme the in single own, the articulated her through on us navigating vocals handling Caithlin, bass-wielding little is time this band the of forefront the At albums. few first those of nature dual the from away step a quite and The concentrated, and direct shoulder. more is approach their on hand firm a with listener the careening, leave whilst might DIY So work early punk distinct. their so them their made with ethic, coupled which, moving sensibilities, folk been original those from have away band the that claims drums”. loud with music folk “like dis Now based in Brooklyn, Marrais Marrais Brooklyn, in based Now was sound their beginning, the In Tin Foil Tin Catastrophe… or or , and their first with with first their and , Artificial Light Artificial sits them down down them sits a u , created created , s hiding her meaning in metaphors, speaks of speaks metaphors, in meaning her hiding by distance a at listeners keeping of instead away and from her tendencies, misanthropic moving age, with confident more grown has she says Caithlin album. this on over take import now. on import available is Together Us Keeps Catastrophe Maria. Rainer of wisdom the with identify Lion and emote to anxious ‘The conception, band’s the of of time the at been off soundtrack new King’ still a themselves might’ve who comes weening fans but album of license, new influx poetic each on with placed new they’ve the restraints the and at indie taken they’ve of surprised direction be fanbase may core veterans Maria’s relationship. a of Rainer end the of or end the it civilization be the endings, level, about is surface album the On dis- inspires. that aster confusion epiphanies the terror, awe, ultimately, the and, to ode an is orbit, of out falling moon the and ending world the mine.” you make I’ll make, I’ll that is / spine every broken you’ve my in tones /and books in couldn’t find you / what the head all make you can / body my in bones the all name you “Can elation: utmost the with inquires sweetly Caithlin from treatment verses on Maria-type Rainer prolific the stand- in number out better” any know didn’t I and / clever and “You strong like were words over that instrument honeyed a crests climactically into croon girlish chirpy a from has ripened voice her years, the Over ear. their in whisper and close listeners pull to wanting t Humanistic rather than artistic urges urges artistic than rather Humanistic Inspired by recurring nightmares of of nightmares recurring by Inspired ty ers atsrpe ep U Together Us Keeps Castastrophe Burn photo by by photo ’l ae o Mine You Make I’ll words by by words Tee r sil rcs of traces still are There . Francois Berthier Francois Emily Anderson Emily in , where where , n disasters

Summer 2006  words by Andrzej Lukowski photo by Francois Berthier

10 Wears the Trousers magazine the Dresden Dolls 11

, Summer 2006 Summer Backstabber Sex Changes and hymnal closer Delilah appear to be nakedly critical ,through the delicate domestic Delilah – aren’t afraid to wear their hearts on “Oh. Uh. No. In fact I got an emailangotaboutfactIn No.Uh.I“Oh. Most provocative of all is “That’s not imagined,” nods Palmer, “as Of course, making the songs more obligation for Palmer to adopt stance a on positivethe issue, but it seems an oddlypointed attack proclaims herself from friend to the freak.shakes somebody her head She in concern. who that, some somewhat perturbed fanmail. I think as a certain brand of feminist it be can really incriminating forth when you with come a view that actually seems of individuals – informs her abused inprotagonist “You’re an the unrescuable latter, schizo / Or else Palmeryou’re on the rag” – though the singer is evasivethis. “They’reabout fictional Frankensteins,” she says. “I mean, it’s not like I have an actualfriend called Delilah. She’s confabulation sort of of like a people, thatmatter.thinkI andsongs arelike dreams in myself for a way. They say every character in a dream isactually yourself, aspectanor yourself,of and I think you could say the same beingabout a songwriter.” the propulsive, giddy both the romp album that itself and opensshows. the It’s infused band’s with live such kinetic gusto thatfirst time around you don’t necessarily notice the lyrics. Second time around lines like “You get your choice of an aesthetic / We’llneed to chop your clock off (tick tock tick tock tick tock tick tock) / It might not be what you expected / There is no money backonce you’ve been ripped off!” leave an odd taste in the mouth. Seemingly a salvo of scorn against transsexuals, there’s no about something or other, but differentit’s a very Palmer album. Her whovoice still isn’t pretty, dominatesbut it isfar more potent, a full-blooded, this confident roar that nimbly rips through – songs that from the Backstabber self-explanatory venom abuse of ballad Sing their sleeves. a performer I have a lot more confidence. recordedWe this record after being on the road for fucking three years, and that first record after barely touring piano at playing all. is So a lot my more confident,vocals my are a lot more confident, to I’m gettingused up in front of a people,crowd whereasof that 1000first record was utter paranoia and self-consciousness.” accessible only servesfurther in to to beckoninvites Palmer-land. criticism. fans The But likes ofand it also withafter a night on angel dust and Stella. Which would count for verywas little if stillshe croaking away despondently . Largely Yes, Virginia It’s a tad drab next to this year’s Er, okay. So in other words her diary’s From a non-cult perspective, i.e. are “I think…it’s all about how you in shame. Musically, it’s a big, boisterous,larger-than-life knees-up, like somethingAndrew Lloyd Webber might come up band has an identity, it’s frequently verynot stronga one. sophomore effort, shorn of the embellished guitars that its product occasionally predecessor, of Palmercore values it’s and refining coming out with the the allblazing. guns The piano Dolls’is cranked up to eleven and frequently battered to within an inchof its life; Viglione bombards his a kitpower withand precision that would prompt the average fighter pilot to hang his head stop having ammo to use against you.” a bit like the bit in ‘8 Mile’ when Eminemwins by doing a rap about how rubbish he is? “Exactly!” she grins. the tunes actually any good, The Dresden Dolls’ debut is a pretty qualifiedIt success.has some good songs,compelling but behind aesthetic,the ropey:the angst it’s is non-specific, reallycontrived even, aand while Palmer’s tad coarse raspvoice of a and pneumatic piano ensures the not to do is to use it as…well first of all useto it as a weapon, whichbe, it and reallysecond could of all ofto use dumping it as ground a kind venting. for As long as people frustration remain in touch and with the fact that I’m always why questioning I’m even communicating and something that I always remain self-criticalopen-minded andabout the process itself then it can’t be sort misinterpreted, of the first because to criticise I’m anybody myselfelse, beforeand with that you disarmbasically your worst critics, because they performance art at a Infamously, Dresden Palmer Dollskeeps an gig. online diary, an eyebrow-raising paranoia and stewinsecurity, the likes of which of you neuroses, probably wouldn’t be your parents overjoyed to for have access thousands to, of fans. let It’s understandable alone why one might think Palmer has invited people to reach in and grab a piece of her identity for themselves. communicate things,” “With she the diary, one thing I try says really hard slowly. sex toys), Palmer and Viglione would have the makings of a cult act even if a they rigoroushad policy of vigorously beating fansall with sharpened sticks. But at one their peekofficial website shows a band thatoffers almost unparalleled access: the Dolls invite people to send signed, to submit them art, poetry, items photographs, to be music, to get in touch if you’d like to do Coin (a thrillingly ugly, near (an enjoyably kitsch paean to tonight’s gig open and already there’s a ten-metre queue of fans outside. t’s ninety minutes before the doors for With their evil mime chic, an This might sound a touch ungrateful, “Well that’s was definitely never a industrial two-minute Operated Boy rant) and eponymous debut album of piano harsh, antsy rock, and Girl Anachronism the underground hits don’t connect with it, it sort ofafloat keeps sometimes.” me “increasingly more so actually, take because a lot of I solace in the fact thatconnect people with the music, even on days I but in truth there are probably few artists who appreciate theirnodsshevigorously, Amandado,” “IPalmer. fans as much as sorts of fans that look fansdon’t likenecessarily thefit to the hardcoremould that we expected.” they’re missing the point, because it’s not, it’s really not about a lookus, it’s aboutor thea abilitystyle to befor a freak. The well although it’s sort of flattering on onelevel to see them painting their facesdressing and up like us, in another way we feel plan, oh god no. In fact people havetelling beenus for years that we should sell stuff like hats at our shows. But Brian and I… Speakingearnestlow,in tones, sheponders the wannabe Amandas that flock to every Dresden Dolls gig. other she draws on with look Maybelline bloody and odd. Certainly too the weirdwaiting for hordes to have tried to copy. cabaret’. An inexpensive the dye-job only unusual aside, lookingeyebrows, feature which is her for some reason or and boots,and rangythePalmer looks likemore a mechanic than somebody who proclaims her stock in trade to be ‘Brechtian punk drummer Brian free Viglione,and their trademark are whiteface make-upmime bowler-is nowhere to be seen. a batteredSporting ensemble of old t-shirt, trousers gig, Dresden Dolls singer, songwriter pianistand Amanda Palmer is sans and stockingssuspenders; both she and fellow Doll, of the bowlerwaitingtheindustry.thehatof Were crowds to be let inthey’d probably right be a bit disappointed. now, Pre- however, number of bowler hats. They’re here to see Bostonian duo The Dresdencabaret rockers, Dolls, and, apparently, cult saviours best mate to get a half inch closer thisto. isn’tBut an emo crowd, being both and older odder, favouring a uniform jumpers, of stripy stockings stripy and an infeasible BirminghamAcademy,usedplaying to host to emo acts for whom the average fourteen year old would cheerily disembowel their I Not an unusual thing in itself; this is the 12

Wears the Trousers magazine the Dresden Dolls Palmer, “it’s sort of like, it would be be would it like, of sort “it’s Palmer, Claus”. Santa a is there Virginia, “Yes, concluded that reply winded long- a with met was Christmas Father subject of the into inquiry brat’s New the precocious a which in of Sun York edition 1897 September 21, the in editorial an Virginia Yes, culture, US of elements arcane in more the versed not For those title. album’s the of Virginia the lecturing teacher school deluded a part, a playing she’s realise scientist to rocket a take doesn’t It holocaust”. Hiroshima… no and no Hitler no and hell no “There’s singing Palmer features is still versial overwhelming.” very feel must that experience strange very a least. into look a the definitely was it But say to educational was a it But was It relationship. passing songs. the of lot a in up wrapped that’s song, the in up wrapped all that’s And that? negotiate you by do how used women, weapon terrible this be can terrible it also but this thing fucking it’s mean I way, terrible same the is rape and having girls sex, dumb just of are plenty who know I Like anti-stupid. also I’m but pro- choice very definitely I’m – like that anything on stance weird together. well very work mixed they and metaphors deliberately are lyrics the abortion, and virginity and sex about it’s entendre, triple a like is song the also And were. decisions those final how about questions it up bring did But certainly that. like anti-anything was by it I’m that. inspired by no means change*, sex a had through I going was that relationship somebody with a of out issue. entire the around confusion on lot a the there’s and actions, through their of think consequences to have I should really people decisions, that think their before make educated they be should really that think people I actions, their for held be responsible should actually people that I think y’know, but paper, on conservative very “The original American letter,” muses muses letter,” American original “The contro- more Superficially a take can you mean “I came initially song That is a reference to to reference a is r O Mrs , which which , acceptably salt-of-the earth message that that message earth somehow salt-of-the yet acceptably feel-good schmaltzy, this the like very as it’s museum paintings; a Rockwell of Norman room same the in special shows at The Roundhouse in Camden Town. Camden in Roundhouse The at shows special month. this Records. released is Roadrunner The Backstabber on single now new The out is Virginia Yes, in. going was change said direction which reveal record, the *For

Dolls return to the UK in November for a pair of of pair a for November in UK the to return Dolls WTT ’s tabloid-style probing didn’t didn’t probing tabloid-style ’s

thing and it’s really sentimental, almost almost emotional sentimental, really really it’s this and it’s thing and it, everyone over and reads all Christmas newspapers every America in reprinted gets private diary. And nobody reads that. off.” that’s me that. pissing shit REALLY the reads about write I nobody where my That’s And “is foot, diary. booted private a with on propped carryall canvas Sun. Only shorter”. Only Sun. York New the as thing same the “say probably she’d Nick, Saint of non-existence the about her badger to pre-teen a were that concede however, check does, Palmer into a without ofsniff the word ‘Iraq’. cultural hand-washing and Western expansionism kicks that dialogue darker.” much it’s band the of know, context the you in because context, of out completely letter chunk the of little that taking like I know feel you but hit. I letter, the way about be the of to sort That’s want don’t you where spot that in you hits and it it at look you but to it, love hate fucking you painting Rockwell yet Norman good a And like sentimental. overly Palmer grins, prodding the the bag,” prodding that grins, In Palmer diary. public lightly. quite off getting actually we’re seems that it of theories, sorts conspiracy all engender diaries her might read behind fans rationale letting the much about too thinking And hat. although silly everyone a wearing not was and success, out sell a Dolls’ was tour the UK recent think; as many might as you some not of But out people. crap to the going scare always is abortions about songs oompah-oompah liter-ate, sings and white face her paints who Bostonian 30-year- old a told, be seal, truth that but, breaking slowly is music of quality of sheer and will Force Dolls. Dresden The about sealed hermetically and cultish intrinsically something there’s it’s intentional), honest: be let’s (and Palmer. not or Intentional Amanda of wary might be fans music some why Indeed it is, a pithy fantasist a fantasist pithy it is, Indeed “That’s a very deliberately deliberately very a “That’s reasons of lot a are There WTT ’s dictaphone is is dictaphone ’s n

Male Feminists Male

uch to our bemusement, some the irony of the question were sadly lost on a difficult subject, mainly due to ideas of people find it hard to understand him. With this 2D perception of the lady representation and self-interest. It’s difficult how a man could be the driving feminist in mind, it’s interesting to note that enough to convince some women that Mforce behind Wears The Trousers’ femme- the stereotypical blueprint of a man with feminism is a valid concept to invest in, friendly ethos. Jo Harrison asks why and similar principles is either a liar trying to since it might undermine their femininity explores a wider, very modern phenomenon. score someone with more overt compassion, and post-feminist licence to raunch it up gentleness and femininity than is ‘correct’ for without a care in the world. So what’s in it Is it possible for a man to be a feminist? a man to exude. He is the polar opposite to for a guy who claims to be a feminist? Why Should men be feminists? And if so, do they his dungaree-wearing sister; his balls have would a man demand equal pay and realistic get to keep their trousers? Such questions been busted and he’s either surrendered maternity rights for women when it might are the tip of the iceberg where this subject his trousers or had them cruelly pinched! encroach on his own income and work is concerned and there are no definitive Thankfully, most people are far more pressures? Why would a straight man express answers, so let’s start closest to home. Is a man complex and difficult to pigeonhole. the idea that women should not be treated as who is interested in redressing the balance So what can feminism mean for men sexual objects in the media if it meant that of gender representation in the music press who are disgusted by misogyny and believe there were less bare-breasted lovelies on the (or indeed any aspect of our culture) really a that something should be done about it? cover of Nuts in the newsagents? And why feminist, and what does the term imply? My Can they really be feminists? Well, without would a gay man care one way or the other? own personal take on the subject is that men being too academic about it, the very Does a man who professes to be a feminist can and should be feminists, but that has term lets men in on a technicality. If one prove how secure he is in his masculinity? much to do with my own take on feminism subscribes to the notion that femininity and That’s an attractive way of looking at it, but as a cause, a movement or, maybe more masculinity are not dependent on anatomy, doesn’t that devalue femininity somewhat? – aptly, a belief system. By this I am that a man has enough testosterone not advocating that to be a feminist to spare that he can dabble in is to live under quasi-religious ‘women’s business’. Or is he just in doctrine, but simply that it should touch with his ‘feminine side’, the affect the way in which people opposite of the female feminist who’s conduct their lives. ground her girlish side to dust and To me, feminism is a banner for is busy smoking a cigar and waxing humanity, acceptance, diversity and her ‘tache? inclusion. In the past, there have been And we’re back to stereotypes situations where militant action was again. Perhaps it’s best to consider required to make our society and that people don’t necessarily have politics more fair and tolerant. It ‘sides’, or at least not just two strictly seems unthinkable now that women opposed ones, and that it is such were excluded from such basic rights black and white thinking that leads as voting, owning property and to conflict. It’s true that constant being educated to the same standard trawling through the grey areas of as men, but they were very real life can lead to indecision and what prohibitions that had to be opposed. some might describe as wishy-washy Despite the many advances, these liberalism, but there needs to be a inequalities have their relevance balance. The under-representation even today and the sacrifices made of women in the music industry cannot be taken for granted. Today, is just one issue that needs to be the issues that need tackling are primarily then for men to be excluded it would need addressed. Others are the commodification rooted in misconceptions of gender and to be called ‘womanism’ (side-stepping the of women’s bodies in the media, violent sexual stereotypes, lingering patriarchal tricky subject of gender reassignment). Also, pornography, rape and prejudices against attitudes and insidious institutional sexism one of feminism’s chief goals of the 20th single mums etc. A music magazine in than in denying basic rights. But whilst we century was to secure for women the right the context of such matters may seem cannot ignore the fact that these attitudes to be included in all areas of professional, frivolous, but things must change across can be the root of violence and injustice political and cultural life. To exclude men the board. If nothing else, the existence of that vindicate angry protest and demand for from feminism seems almost perverse, since such a publication opens up debate, which change, there’s a Catch-22. Being militaristic any support for change is valuable regardless is always a good thing. can alienate many people from a cause, for of the campaigner’s chromosomes. There’s One response to my questions simply want of a better term, especially when the a great episode of Friends where Ross and read “women should know their place”, aims involve the changing of minds and Rachel are interviewing nannies. Ross is and that’s right. Women should recognise more subtle shifts of perception than a incredulous that one of the applicants is a that their place in the world is equal to petition or forceful political protest can man, saying “that’s like a woman wanting to that of men, and having men with feminist realistically achieve. be a…”. “A woman wanting to be a what?” tendencies who acknowledge this fact as It is unfortunate that the stereotype of Rachel quizzes him fiercely as he struggles common sense only makes change seem the hairy, ball-busting feminist woman still to dig himself out of a very large hole. more possible. So everyone please don their prevails. I was once asked by a man if I had “King,” he replies meekly. And feminists are trousers/skirt/jodhpurs (or whatever your become a feminist as a joke, implying that supposed to have no sense of humour! garment of choice), doff a jaunty-angled cap I was being deliberately exasperating. Both In researching this article, most people and join Wears The Trousers in saluting the my slack-jawed, dumbfounded silence and I spoke to agreed that male feminism is possibility of the male feminist! n

Summer 2006 13 standing up, being counted

words by Loria Near photo by Autumn de Wilde

14 Wears the Trousers magazine Inara George Inara

t’s no secret that I love going to gigs; I to do with your life. Ultimately, I’m better at That I first met Inara at the First Avenue spend most of my expendable income it than anything else I’ve done, except maybe in Minneapolis where portions of the movie on tickets, plan vacations around tours for waiting tables. I got pretty good at that.” Purple Rain were filmed strikes me as rather Iand have a wardrobe thick with cotton No silver spoon for her, Inara’s paid her poetic. “We almost played Purple Rain that concert t-shirts. When Idlewild toured the dues. But how did she get involved with night,” she exclaims before admitting “but I US last autumn, I was giddy and thrilled at Idlewild in the first place? “The producer of was a little too shy.” the prospect of going after waiting years for that record, Tony Hoffer, is an old friend of When asked if she listens to other them to return. I bought tickets to several mine and he called me into sing.” music whilst working on new material, she shows, plotted out a road trip and took the It was the beginning of a beautiful says she does but that it’s all over the place necessary time off work. Of course, we had thing. In fact, Idlewild guitarist Rod Jones stylistically. She recommends Eleni Mandell to get to the venues early – I didn’t want to and Inara forged such a close friendship (“amazing lyrics”), Mt Egypt (“Travis Graves miss a beat – and that’s how I discovered and that he accompanied her on her recent UK is dreamy!”) and the new Mike Andrews was stunned by Inara George. tour and they even have an album in the album (“beautiful”). When I mention that Prior to the tour, I had barely heard of works with the title George Is Jones. And I’d noticed that Jack Black had picked Inara; all I knew was that she’d sung backup Inara hasn’t just worked with Idlewild; Inara’s cover of Joe Jackson’s Fools In Love on several tracks on Idlewild’s Warnings/ she counts her godfather Jackson Browne for his celebrity iTunes playlist, she seems Promises album and that she was from Los and Van Dyke Parks among her musical pleased. “That’s very sweet of him. He is an Angeles. In doing some research, I was cohorts… quite a list of talented individuals! amazingly gifted musician; he can sing his surprised to find out that her father was “Every collaboration works differently,” ass off!” the celebrated Little Feat guitarist Lowell she explains. “It’s kind of like how every The aforementioned cover is just one George who died of a heart attack in 1979, friendship has different dynamics. With All of several standout tracks on All Rise, and that she’d studied literature and theatre and Rise, Mike Andrews was a very big part of we return to the topic with gusto. I mention that she’d earned her indie stripes in college the writing process for most of those songs. I how much I love the artwork. “I’m so glad rock quintet Merrick. Although her music is would start the songs and he would help me you feel the same way,” she replies. “The strikingly more acoustic driven and sparse finish them. I write primarily on the guitar, artist’s name is Geoff McFetridge. I pretty than anything Roddy Woomble and co. but for my next solo record I’ve written a much just let him go with whatever he had put out, the two acts somehow gelled piano song, which is a first for me.” wanted. We had a conversation about what perfectly. It wasn’t just the music either; Yes, you read that right; a second solo I had in mind, but then he just took it to after her set I found Inara manning her own album was in production before All Rise was another planet as far as I’m concerned. If merch table, sweetly conversing with anyone even out in the UK, so why have the Brits had someone is really great at what they do, I who wished to strike up a conversation. to wait so long to hear it? “It’s my first record think it’s so amazing to see what they come Inara’s debut solo album All Rise was and it takes a lot more time to figure out all up with.” issued throughout the US in January 2005 the details of these kinds of things. It’s just Many of the songs from All Rise have standing up, but is only now receiving a European release the way things go sometimes.” appeared in a number of US TV shows. I via the nice people at Loose Music (home to But does she still feel the same way about wondered whether she has any control over The Handsome Family and Mary Lou Lord). the album and the songs as she did when she what is used and when, and if not, how she In honour of this fine occasion, she agreed first recorded it way back in 2004? “I can’t lie,” feels about it. “I have complete control,” she being counted to an interview and after exchanging several she admits. “There are some songs on that writes. “I have to say that it’s an amazing emails, we got down to business. record that I don’t identify with as much as I way to get your music heard and pay the It wouldn’t be right to start off without used to. But I think that’s normal and I think bills. Behind every television show there commenting on how approachable and that usually happens soon after you start is someone who is creating that show. I try genuinely friendly she is, so I did. “Well thank playing a lot of live shows. It’s to be expected, not to be judgemental towards anyone who you for that,” came her reply. “I suppose I and I’m always anxious to move ahead – it is being creative in whatever medium.” always try to engage with people, especially makes playing the older stuff more fun.” Speaking of being judgmental, I ask when they’ve taken the time to come up And move ahead she does, at a great whether she reads her own press; is she to me and say something complimentary. rate of knots too. As well as the next solo the kind of artist who chooses to stay as far However, I’ve been know to be terrible with album and the George Is Jones project, Inara’s removed as possible from it, or the type who names, which gets me into a lot of trouble!” teamed up with indie rock icon Greg Kurstin is continually fascinated by how others see For someone who grew up with celebrity, to create a new collaborative album, The Bird their music or performances? “I’m definitely one might assume she could be quite the & The Bee. How does she manage it, that’s curious about it. But I try not to put too opposite. But Inara plays down her rich an overwhelming workload! “I’m a pretty much stock in it, and most importantly, I try musical heritage, as if she hasn’t really organised individual; I keep it together to have a sense of humour about it all.” considered it. “I’m sure it all has something to pretty well. But the records aren’t out yet so I Even with all these different projects, do with who I am. It’s a hard thing to define. am bracing myself. To be honest, it’s all very there’s something so distinctive about Nature or nurture? I don’t know really.” exciting – to be able to play different music Inara’s sound. I wonder if she’s ever wanted Being surrounded by so much music with different people all the time.” to tear it up, go crazy, play a Clash cover throughout her life, it was pretty much a We chat a little about the music she loved and smash up her guitar, just for the fun foregone conclusion that Inara would end as a kid and one name keeps cropping up – of it. “Sure, I love that kind of stuff, but as up connected to it somehow as a career. It Prince. “I suppose he was my first real love in much as I have fantasised about sounding took a while though, as she explains: “Once terms of music. I used to listen to his records different than myself, and maybe even think I understood that this was what I wanted to alone in my room, lip-syncing, dancing etc. I might be sounding different, my voice has do, I don’t think anything could make me stop I just find what he does so joyful and he is a certain quality that is difficult to change.” doing it. Although I’ve been confused about undeniably talented. I don’t like to bandy this “Maybe I should just start smoking,” it in the past. It’s a very strange thing to want word around a lot but he’s a genius.” she jokes. n

Summer 2006 15 16

Joan as Police Woman Wears the Trousers magazine and Sheryl Crow, all adding strings of of strings adding all Crow, Persson Sheryl Nina and Hatfield, Tanya Juliana songstresses Donelly, fellow to John Elton and Gahan Dave with Reed, Lou from work everyone studio and performances constant includes live date in to résumé been her and demand have vocal otherwise, both and talents, musical Ever Joan’s since, short-lived. was Souls, project the and Bastard though Those Tighe of Kindred Michael former Parker stalwarts, alongside Buckley Beetle Black Wasser formed tragedy, this of wake the In river. close Memphis a in drowned and Buckley Jeff friend bandmate former months Joan’s band few a after the just 1997, circuit, October in indie split the on success violin. the on style playing dramatic her developed further and palette musical her broadened The she which notably in most Dambuilders outfits, local other in and Trix Hot bands formative her of one in Autoclave) (Helium, Timony Mary heroine rock indie alongside playing while short a spent She rawer. something for recitals of in the a trading life before Orchestra Symphony of University Boston the mastery with full playing violin, assume she to eight, on of went age the Joan by multi- instrumentalist A dodecahedron, faces. many of jewel a diamond is Wasser a Like background… some first, But eh? it, get can you if work Nice things. favourite the most their with about talking of job tasked taxing one) incredibly Ontarian the (not London in afternoon sunny glow unusually an the of by surrounded themselves found Joan and she later, year One inimitable Wasser. the Joan by fronted Woman, As Joan Police trio talented from EP eponymous I development arrested After several albums and some modest modest some and albums several After first wrapped an ear around the the around ear an wrapped first when Montréal in living whilst summer last late was t Angelina Adsmill Adsmill Angelina a chance to name them, let alone clutter clutter contrivances. modern alone with them let them, name to chance a had yet hasn’t mankind that fresh so loves and galore streams rushing cool, of sounds the found I Here, landscape. primeval a of vista a unveiling habitat, grim dank, that of walls slimy the demolished Wasser meter, intensity-o- the up racked songs the as and confines brittle prison’s that of free swelled quickly and purred hummed, Vocals light. neon scrappy a of flicker a were each if note as quavering by note illuminated space subterranean almost an of room, was darkened summer, a senses my last nuance. flood to EP image first first the that sophisticated to Listening with dripping magical, instinctively yet accessible that’s quite anything you’ve heard her. like fact, never In probably personalities. exploring and different characterisation of strong a sense chameleon rock the with shares of single B-side new the band’s as the CD on time first the for David of Orwell-inspired Bowie’s reinterpretation gorgeous her to due 6Music BBC of favourite a Already career. impressive her of bow the to kudos people like Dusty Springfield and Nina Nina and Springfield Dusty like people the to of torch melodrama, song queens legendary sounds melodious her commentators comparing several Joan’s with praise, most the to of and privy been has voice astonishing superlative, unanimously Ride single recent the on sings herself Joan a have buy can Life you Why when seeds pure. of packet yet yet tainted wistful hopeful, formed, fully that’s with album emerged an has and youth naïve of the idealism foregone has Joan ‘influences’, , a giant blooming bunch of flowers? As As flowers? of bunch blooming giant a , Early reviews of the album have been been have album the of reviews Early under “life” writes who artist an For music make Woman Police As Joan , “starting now, the wait is over.” is wait the now, “starting , Eternal Flame Eternal Sweet Thing Sweet (issued (issued ), Joan Joan ), Real Real The The

may be more notable for her instrumental instrumental her for notable more be may singing.” started I why of kind that’s and more needed I like of sort was it then but great, And really was that instruments. expressive one more also the is of which violin, through expressing myself time long she a voice,” spent “I the enthuses. is emotional exists that most instrument the “Probably Simone. reporter. They still adhere to certain certain to adhere still news talented They a of reporter. those unlike wholly vignettes, Hemingway like those were loved and with connected really I that writing in cool,” “One of she beams. my imparts influences first “That’s that instant. single a in knowledge one great feeling, indescribable the carry almost an encapsulate to and also but narrative service only not the to allowing music it, for it’s cohesive EP, more the earlier all the than more affair out considerably chilled a it’s Though of songs. clutch ten-strong album’s the through running emotion of shortage there’s no good; certainly done girl the that apparent possible.” as much as it evokes it that hope I so emotion, the of source the is song the in across get to But trying I’m it. what with working and instrument to that used so probably I’m It because about violin. naturally happens the thought imitate to never trying I’ve because say, can’t I mean, “I shrugs. know,”she don’t “I experiences. unconscious string-based an her of be imitation perhaps might style singing her that whether considered ever had wondered Joan I moods. of build to variety order a in instrumentation the as much as voice her using skills, vocal her to translated has strings the over glides bow her it which with ease the that prowess, me to appears vocal her than contributions Indeed, while Indeed, Joan’s musical background Like Hemingway, Joan’s lyrics are not not are lyrics Joan’s Hemingway, Like to Listening In Our Time Our In .” el Life Real , it’s plainly plainly it’s , Summer 2006 17 18

Joan as Police Woman Wears the Trousers magazine n snig I ely a t lan ht I what learn to had really I singing, and songwriter the being to people plays other who with focus instrumentalist my an being changing from “Just limelight? into the and shadows the of out step and to ready comfortable I is – Joan scene whether cabaret wonder York New new the of exponents two these to skills instrumental multi- her lending The party, touring & Johnsons’ Antony and Wainwright member Rufus a as of recently ambitions most – long recording so for own her to regard things where me, happen.” should would… within somewhere inherently, remember, to myself trusted of sort just I to know? song you the whatever’, of highlight part this at strings right the in ‘okay, came like, be and it to listen and back go didn’t I Al but loved recordings, Green really I Like, general feeling. the more overriding all it’s notice guess I don’t much. I that but the at whatever, oboe or an end, used they that or sound, guitar the notice I time mean, the I of whole. big most a as it to I listen realise just I I that don’t. way certain a in music to it.” like anything they song, sound doesn’t Dylan That Joan! ‘whoa Bob say, would a write to tried I someone told this ever I have if But to feeling’. of want sort I ‘Oh, I’ll like, it, it person. of other think else, that like someone sounds never like to something try ever I write “If admits. she you,” of part instinctive the from come sounds doesn’t it if trust true really never always it know, she “You does them? But muse. lady’s interpretation.” an force to not try I but across, feeling the get to try I and experiences it own my have make I to own. their listener the on count of sort I way; that in open is that music making and music making “for about great what’s says, that’s me, she is,” into thing much “The things. too such reading I’m perhaps voice! that But confidence, talent, – along all possessed in she’d that towards something was others gravitate to wanted and had seen perhaps she to what come that had realisation Joan the if as sense introspection, profound of sweetly a find you’ll and wants she what for convey. to words six right they’re the that sure damn be can you lyric, a But in words six just use might she economical. though even flowery positively and is Joan verbose peers, more her Unlike of department. some punch the in plenty repeat they but and they pack a purpose, serve collective that in course, of constructs, Having self-imposed a sabbatical with with sabbatical a self-imposed Having listen friends my of lot a know, “You this drive what are then, Instincts, words her into deeper little a Delve

I didn’t know, really, anything! So, I started started I So, anything! really, know, didn’t I so say, to wanted I what know didn’t I and I singing, thought I what know didn’t and really I realised songs writing started I soon as as then But feel. I what them telling and anyone to talking problem no have and extrovert an I’m – opinion my expressing time of a lot spent I had previously but silly, sounds that know I myself. about thought Wilner’s new sea shanties (also known known (also Hal shanties including sea new projects, Wilner’s her other lend to to time skills finds still Joan career, right!” That’s right! “That’s again, laughs no There’s winking!” for don’t. time I glad I’m know wink. don’t to how “I appreciatively. eyes. laughs new She through were world Wasser old if an as viewing alone, virtue vision through their of scenarios fresh familiar to bringing life postmodernism, knowing of the wink sidestepped have Woman Police As Joan timeless. be instantly as inevitably, hailed will, that albums sounding abandon’. blind yeah!” is, it what That’stotally ‘educated now, that use I’m gonna “That’sperfect. she beams. great!” so “That’s fate. musical own her to herself to surrender willingness an exudes innocent favour the on returns (Antony and artists so many thrills alongside working of vicarious have disappointments may the runs Joan that experienced album. abandon the blind throughout educated of way,some orthat are youfeel inyou.” things that you want to expand in yourself in you’re attracted to in other people are usually qualities the said, you like that, realising and inside looking about it’s “Yeah, self- discovery. of journey psychological a as named process.” rewarding extremely an eventually but times, at terrifying really was which was, I who learning of process a make it up right there. It was really fun.” really was It there. right up it of make of lot sort just we’d A and involved myself. were people and Matter No Magic, White Thompson, Teddy Anthony, Mark Rufus, Arthur, Joseph Antony, performers in; the come to of lot a got and band the New the for choose to got I meant which director York sessions, musical the was I York. New and LA Francisco, San Seattle, Dublin, London, sessions: six were There Africa. and Indies West the from also England, but New and Ireland England, from only not songs, sea old shanties, sea these together put He’s projects. amazing these ask) project, you who on depending ‘chanteys’, as Real Life Real Although forging ahead with her own own her with ahead forging Although She y’know. twitches nervous to leads It Life Real sense delightful a there’s Certainly, that suggest I Rogue’s Gallery Rogue’s ’s fantastic fantastic ’s is one of those modern classic- modern those of one is el Life Real . “Hal puts together together puts “Hal . I Defy I s ut aptly quite is ), but she still still she but ),

what’s happened. You’ve lost total ability to to ability total You’velost happened. what’s know even don’t you and hours sixteen for worked you’ve and thrilling really It’s true. with – “one song!” before “no, continuing, it’s in joins knowingly she point which at – do songs.” eight did we day one mean, “I nods. she “Exactly!” liberating. rather been have must album concept improvisational an essentially is what for efficiency such so fun.” really was it so insane player, guitar this just she’s because band the in bassist] Woman’s Just Police Rainy As Joan about. musicians. know really extraordinary don’t people you York New that amazing Pastorini, just Ed these and all drums playing Three Dirty the from White Jim amazing; are play to got I people The fun. was which happen it make to had just we so beforehand, songs the of lot a know rather didn’t ‘I’d band or The this’. do this’ do to want ‘I says, and listens this also performer for the then and four person’ these of ‘one like, choosing, of lot a did he and songs 156 me songs? sent “Hal the out handing when democracy Chanteys featuring Jolie Holland, Lucinda Anti-. Lucinda on now out is more and Holland, Williams Jolie Records. featuring Reveal & Chanteys Songs Sea on Ballads, now Pirate Gallery: out Rogue’s is Life Real record. this Buy life. real living, breathing a Get substance, treasure. of can you something something you bring and experience listening usual the transcend to desire a spirit, same exact the with seethes positively compatriots two her and Joan Wasser of music The alive.” it to make but – actually it criticise or – life depict just to – not across life actual the of feeling the get to stories my all in trying “I’m wrote once port. to home head I while forthcoming) Sailor Drunken The With of Do cover a which (during show evening’s the for prepare to deck the on back due she’s though, now enough For me. for assurance quality is involvement projects.” musical nutty of supporter a it, he’s that understand cool it’s but totally don’t I mean, I think so. “I Sparrow? Jack Captain reprobate role his as into affectations roll ‘n’ a rock than few more invested has actor maverick Depp”. Johnny by for paid being sorta it’s insider that think “I top secret, some impart to about she’s if intake.” food and time rationalise iae O Te Caribbean The Of Pirates I suggest that it often takes eight days to days eight takes often it that suggest I process a laborious is usually Recording musical of kind any there Was In In a letter home to his father, Hemingway Joan’s otherwise, or sane it be Well, super-cool Hollywood’s mean You as whispering, almost in, leans She was, sadly, not not sadly, was, ht hl We Shall What played guitar guitar played ’s dry-witted dry-witted ’s [Orteca, [Orteca, n Mia Doi Todd 19 Summer 2006 Summer Twenty Love Poems . I try to have one song . My songs often deal with insecurity . But I do think that that’s the most even if it’s modern world dealing is so insensitive, and peoples’ with sensitivity sensitivity…the is decreasing. feel I like definitelya social oftenworker. I thathad toa deallot withlast year asrealisation I thatwas I comingwas no tolonger the doingmyself. it Ifor used to feel thefor need someto perform, reason. reason But was thenno longer that present,stopped personal and touring being fun for a while because I It’s like Pablo Neruda’s & A Song of Despair on the album that is more literally– orpolitical that is how it has intentionallyhappened, focusedI haven’t on that. I haven’t been areally political artist. Most of my songs are love songs; I haven’t been Buta protestI’m realisingsinger. more and is morean importantthat that role that play.I can And and I should have touring…you to a get certain the extent,contact opportunity like to with have people, a who pretty are often large Indie onrock crowds, the number some young are side.political of lot are but indifferent.a A lot haveof justpeople been our so age alienated itby haspolitics turned that to disinterest –as so a in bardmy roleand travelling it’smusician important I do to feel spread I the feel wordabout on things. how Soworld aremany becomingthings homogenised in thatthe even if I don’t have a politicalmyself andsong, not Britneyeven Spears being or something that’s being amplified so independent loud…to have voice an is verynow. important So, even right if it’s not a political song, honest place to start. I’ve realised of that my a songslot are way more honest than ofa lot songs tend to be, andmatter I get that into onesubject [laughs] usually stays away or feelings fromof self-hatred…a lot of songs do I guessbut reallyI cut tothe quick onthat one. Usually people try to create positive of themselves…!images You are obviously keenly aware of the power of art, of music and of words – I’mfor instance, thinking of this lyric by “by penpoint gunpoint the and west you was have claimed” written – songs and political. that Is are this a extremely conscious intention,it just symptomaticor is of the various aspectsyour lifeof touching your music? Both.I think these days living in the modern world it’s so hard not to be affected by these large political situations thataround are us. going So on it life, but does I have written affect songs with a my political conscious. personal For the tried past to have fewone political albums, song per I’ve album. personal experience in my song-writing and I’m not as interested in myself as I used to be [laughs] So far I’ve experience.startedhaveadvantageseetheI to only written of fiction as from I’ve exhausted a personallot of my own words should be in Spanish but I don’t really speak Spanish, so I Cuban had friend the of poemsmine had that written to a andme andsent I was able to setmusic. That’sone the firstof time I’vethose taken a poemto and translated it into a song, so that was fun. It worked – it was a miracle! songs,Your particularly the lyrics, often have a rawness and disarming. honestly that’s Do completely personal experience you or does writefictionimportant playrole? an mostly from andLeonard Cohen. thinkI Joni Mitchell and Leonard Cohen’s worldviews reallymine. Joni Mitchell shaped is my greatest influence. Metaphor and poetic utterly imagery crucial seem to to yourto be Joni lyrics, Mitchell’s. as Is theyinfluence for poetry you areas well as music? an important Not really. I’m not a writer. big There’s poetry something reader about orand the singing incantation it – that’s what for it’s about me. I don’t recently wrote writea guitar song poetry. and I knew Although the I then when I was about 15 to Joni Mitchell was lucky Clare Byrne ia Doi Todd Her is music consistently an all enigma. resists attempts to pigeonhole it

Fela Kuti…those are the main ones. When wasI 13, I started listening to the Beatles, and My main influencesmainMitchell,JoniLeonardMy are Cohen,Beatles,the NickDrake,Nina Simone, Alice Coltrane, Sinead O’Connor, Prince, Your music touches on many genres and you could be compared with a wealth of different artists. Who are your main influences? little bit more about thisduring a intriguingsunny morning chat.lady enough to rival anything on albums,her previous and you have arecord very indeed. interesting enough to have the chance to find out a faceted music even more faces. Add to this Mia’s haunting cover of Norwegian andWood a few new songs that are beautiful Manzanita. Rather, someindustry’s more of interesting themembers steppedhave music forward and offered Mia’s multi- M settle down and become more predictablewith time willby La be Ninja: sorely Amor & disappointed Other Dreams of into any particular genre, insteadwith flirtingthem all, from folk to jazzreggae. to rockAnyone to who hoped that she would couldn’t figure out what it was for. And now these weird dance performance happenings. of LA to the fact that your mother was Japanese I’m starting to get the bug again and realise In the 1960s those kind of happenings were and you have lived in Japan. It is hard not to what it is or could be. happening everywhere, so it was part of an align that with the genre-defying music that international movement but Butoh carried you make. What role do you think culture I read that you spent a year in Japan studying on as a dance form. I studied with Min plays in your music? Butoh dance – do you perform it at all? Is it Tanaka and Kazuo Ohno, among others; Min Being someone of mixed ethnicity…for me it completely separate from your music? Tanaka started something from Butoh called has really made race an issue in my life from I sometimes perform it. It has taken a backseat BodyWeather. That year I lived in Japan, most when I was really young. Looking different to my music. I tried for a long time to keep of it was spent in Tokyo but for the summer from your family really sets you apart and them separate, just for my own personal sake, I did his summer program. He started a farm makes you search for your cultural identity. to understand dance. And I train with a group in 1986, an organic dance commune farm. I So that led me to be very interested in here in LA called BodyWeather Laboratory, studied there; you dance five hours a day and Japanese things. My cousins, who are full- some years more than others. I have been in work in the fields four or five hours a day. That blooded Japanese, are maybe more American some group performances with them. And was the first time I’d really grown the food that than I am and it’s not so important to them to also I’ve done five solo dance performances I ate and it was a really formative experience. understand their Japaneseness. But for me it over ten years. It’s quite an obscure esoteric Actually I just spent a couple of weeks at was really important. In college I was an East thing, although in the international dance Green Gulch Farm – it’s a Zen Buddhist Asian studies major. I went to Japan a bunch scene Butoh has had a large impact. It started monastery just north of San Francisco, and of times and I do think I’m very Japanese in in Tokyo in the 1960s when all the student it’s also farming. That’s something I want to parts of my personality and my aesthetic. protest movements were going on around the get into for my life. I’m planning to quit the But my mom said…well, my dad’s Irish, and world. This street theatre took place, and it city and grow the food for my family and I also have this Irish side…the bard and the was a reaction against Americanisation and my neighbours. That doesn’t have to do with singer. So that also has an influence. I’ve been the American occupation. In the aftermath Butoh but it’s a whole worldview. Hopefully to Ireland a few times. I really love Japanese of Hiroshima and Nagasaki, culture was so in the next five years I’ll do that. music, and there’s a lot of space in it. It’s very threatened in Japan. So Butoh wanted to slow oftentimes, much slower than most call upon the inner darkness of mankind, of You have obviously been exposed to a wealth of music, and that space, which is also in the indigenous Japanese culture. They started different cultures – from the cosmopolitanism visual arts, and just the general aesthetic of

20 Wears the Trousers magazine Mia Doi Todd 21 n La Ninja Summer 2006 Summer [she pronounces Surrounded By

’ come from? La Ninja La Ninja , that is out in the desert. My . I like Kruder and Dorfmeister, I . Doing these remixes is something to album, the one that Kazu from Blonde [laughs] maybeit wasn’t ideal because they’re areally psychedelicrock band and I was opening for them acoustic, and people towere seeso them.excited They talked playinga lot and when I I justwas felt wasvery a time alienated.when I reallyThat had the realisationof how white indie rock alienatedis, fromand the audiences.I felt So it’svery easy get to really discouraged, but Icontinue imagine to make music.I Iwill can’t help it! Silence Redhead sings, because she would only do it if it was already written. That was a project.strange So I have worked bitwith but himnot in a the littleway that would have obvious.been Who else? Prince! Prince is here LAin don’t know what they’re doing these days but I used to want to work with them. So what’s next for you? I’ve been working on been new working songs. on instrumental I’ve also music, improvisational…almostmore like ragga, but very simple and not virtuosic. I’ve beenwith workinga percussionist. I bought a harmonium recently, so I’ve been playing that…and a tin whistle! I should have an maybe album in next the year, fall, butor I any don’t ideahave abouta labelnew the years, I music was ready to business. give it up, comebut At I’ve back around. I’ve really burntunappreciative out on audiences. touring I last didyear…and I so did a for muchtour opening Dungen. I love like theirit was musica good and match, Ibut in felt retrospect Where does the title ‘ It’s many things. ‘Manzanita’ could be ‘littlegirl of Manzanar’, whichinternment camps. wasAnd the landscape one that I drew of for the cover of the it niña, neen-ya] familyactuallyManzanar,weren’ttheywereat at another camp called Tule Lake, but there’s a reference to California andninja Manzanar. is a A Japanese fighter. ‘girl’ But in Spanish. niña California’s means really a meeting place of many different cultures, so is a reference to many things. I feel as if I was taking a little Manga character, as Princessif I Mononokewere or something [laughs] like that do with that. Is there anyone else out there that you would like to work with? Ooh, a lot of people. Prefuse I’d like 73, to we’ve work been with talkinga about long it time. for His music’s especially really interesting, the Savath wrote one andof the songs for his Savalas stuff. I haven’treally managed to, but he managed to make this gorgeous thing. . , the ? are both with Manzanita La Ninja . It was important My Room Is White La Ninja [laughs] and Manzanita me, was the Flying Lotus on, started as a dance and electronica Now withlabel. me they’ve been branching out. So when I decided to give them album before the remix album, it was almost already in mind that we would make a remix album. It was a fun project to work my onfriends with and see what would come up. Were you surprised pretations by of your songs for any of Theyall sound sonatural. the thinkI theone that inter- was most a surprise, because I didn’t ask him to do it, he just made it and presented it to Well, I write songs the song usually before and ever thinking completeit. I ofmight even recording play it live 100 timesrecording before it, and probably sing it times.Sothere100 areinfinitean number morewaysof that any one song can be recordperformed. it in justSo one smallto way is so limiting. If you get it just right and feel great aboutthat’s it wonderful, but in album makingI was looking forward the to working with remix peoplelotofa I’vebeen wanting worktowith, butalso togive that idea that songa can be so many ways. Plug Research, the label that it’s financially, it helped me continue with music, whereas if other things had happened I might have had to quit and do gave something me a else. lot It of validation which was with important. And my Sony is a family, Japanese company, you know for me to get that validation order as to an make artista real in commitment to it,now I’m and too far gone to go back. And infamily’s eyes my allit’s good. What inspired you to put together your remixnew album? on the other hand, working with people who had much more experience and were so much older than myself, I don’t feel like I was given full respect. If I had been a man I might have gotten more respect…if I had been any other thing, or maybe had a than different I personality do. I didn’t with feel my like peers, I so was that positive. working was I did not have not big expectations necessarilyfrom it. I was very glad to be among be the among stars, the to great constellations…to be on the same record label that Leonard Cohen had been Bob on. It was good also Dylan and then Plug Research. Was the major labelpositive thing or negativea experience for you? It was both negative and positive. In total, it was definitely positive. I learnedit. a Working lot with from Mitchell Froom, this really experienced producer, I about learned the so decision much Now, record.producinga constantlyhappenin making that needs to It’s the most dancey and always it’s wanted so to great. make I’ve dance music but I with Sony/Columbia and . And what that’s got me into music – I album, then following The Golden that State you recorded You’ve been affiliateddifferent record with labels over quitethe createdyears your a– own you label fewto record your third not a place for you. But that is changing and awesome.that’s Berry winning the Oscar…thechanged. But climateten years ago, has if you didn’t into fallsome specific category racially, there was it might have been something else. I wanted to be an actress at one point. But there would beI no roles for someonefelt who wasthat like me…kind of in between. Now with Halle started writing songs and then their label put out my first album in 1997.It just happened quite accidentally. But if it hadn’t been that in LA called Jabberjaw and in a I band met and this I started guy going[laughs] out with him muchmore useful! Iwent to an all girls school for high school, I didn’t know any boys.started We going to this all ages indie rock club sculptor and I grew up around art and artists. I tried to stay away from it; I didn’t major in it in college. Although now I wish I had been a musicmajor incollege…it would have been so you wanted to do? was It accidental. was It kind ofinevitable that I would become an artist because my dad is a started to find my own voice. How did you discover that music was what school and college, and it was good to break from that also, because solo singingdifferent. isSo when veryI was like 19 or 20 I really I don’t really have the strength that you need for opera. So it was good to break from that. And I also sang in choirs all through high melessons once a week singing in the classic, operatic, Italian method ofThat is voicewhat shaped training. my voice. pointAtdecided I findtoa own my voice, because certain what formal vocal training have you had? My next-door neighbourteenager was when an opera I teacher. So was he gave a felt maybe I could identify with. Your voice is incredibly strong and unusual; people who would get into off musicon a different sets course. you So I exploredShankar andRavi Japanese music and things that I a part of that exactly. So in retrospect,having beenafter in the music business for like ten years, I can see things that I was And subjectI thinkto. being a bit different from other is just about completely white, so I have somefelt issues with not identifying completely or it not identifying with me, and not being positive space…I try to find that music.balance Onein strange thing so is few Asians that in pop theremusic, and areindie music the negative space being as important as the Tender Trap is now five years old. How does it differ from the previous bands you’ve been in, which had fairly similar line-ups? Amelia: It’s more like a slow loris than a cheeky chimpanzee.

Tender Trap Tender Rob: Yeah, it doesn’t get out much. A: Apparently, slow lorises are very wise, and better than the average monkey at hanging upside down by their tails! Tender Trap is definitely a more flexible beastie than our previous bands. Oh, and we always play our gigs hanging upside down.

Where did you get the name from? A: I think it came from half-memories of both the Frank Sinatra song Love Is A Tender Trap and also a song by Even As We Speak, which also refers to a “tender trap”. It was actually a particularly confusing choice of name when we were on K Records, because K also had Tiger Trap and Tender Forever. At one stage, I had a strong impulse to start another band called Tiger Forever, just for the sake of completeness.

Was it a conscious decision to make the new album fuller sounding than before? R: We wanted live drums again – and we didn’t want to record the album at home. The first album (which was nearly all recorded at home) was the work of three people who had never produced a record before, but thought that if they spent several months in a room with a mixing desk it might turn out brilliant. They were wrong, because actually it sounded a bit thin. It was nice having a producer [Moat Studios’ Toby Hrycek-Robinson] on this new album. ove it or hate it, the term ‘twee’ has suicide of her younger brother (and Heavenly A: The main problem with the first album stuck like pastel-coloured candyfloss drummer) Mathew. was that we recorded it in my parents’ to the sweet tooth of a generation, a It was at this point that John Stanley basement with the help of their large Lsugar rush of indiepop served best by the also came to Amelia’s side and, following cat Wokingham [now sadly deceased]. We likes of cult record label Sarah Records. the departure of keyboardist Cathy Rogers would get really great mixes up on the Contrary to popular belief and despite the and guitarist Peter Momtchiloff, the trio board, go for a cup of tea, and when we term’s slightly condescending connotations released their first album under the Tender came back Wokey would have twiddled of twirly girls in gossamer dresses, the first Trap moniker in 2002 through the UK’s all the knobs and destroyed everything. wave of twee bands was almost exclusively Fortuna Pop! label. Though these recordings This time no cats were involved. male, with one notable exception. were miles removed from the notion of Since the tender age of twenty when she twee pop engendered by the NME’s now Which songs are you most proud of on formed the band Talulah Gosh, Oxford legendary C-86 compilation, the tag has the album? resident Amelia Fletcher has been at the stuck fast, though the band don’t seem to R: I Would Die For You started out as a forefront of twee, metamorphosing through mind it as much as the genre’s widely hailed nice normal romantic song. But then a succession of identities – Talulah Gosh figureheads Belle & Sebastian. I started to wonder what sort of love begetting Heavenly begetting Marine Re- Two kids and a demanding job as a high- song you’d get if the person singing search begetting Tender Trap – depending flying economist may have waylaid Amelia knew or suspected that their partner on which of her accomplices played alongside for longer than her fans might have hoped, was a murderer – someone completely her. One such accomplice is her partner Rob but following 2005’s Language Lessons EP, heartless and callous. I hoped that the Pursey, the original bassist for Talulah Gosh Tender Trap returned in June with new album song could send a bit of a shiver up who left the fold early on, only to return in 6 Billion People. Russell Barker caught your spine, the way a good horror film 1997 as Amelia shifted into the Marine up with Amelia and Rob to talk primates, does. So that’s the one I’m proudest of. Research phase of her career following the meddling kitties and ravenous larvae. A: I like Applecore because it is completely

22 Wears the Trousers magazine Tender Trap

daft and makes me laugh. I don’t think A: Slightly embarrassingly though, I that make me grin from the beginning to anyone else would ever have written that wrote that line before buying the book! I the end of their shows. I wish they played song! The concept of the song is that a remembered the book really clearly from more often! boy has to choose between two girls, and when I was a kid and it just seemed to R: They were our favourite band when the fun is in the way the two girls are fit well. we were starting to write Tender represented. It’s up to you to guess which I wanted to get even more book Trap songs and I think we were very is me out of “Annie Hall or Amélie”, “Coke references into that song, but somehow influenced by them. Maybe we were less or Smoothie” and “B or C cup”. I only got in two (the other one being embarrassed about having long words in 6 Billion People also makes me laugh, ‘Fahrenheit 451’). our lyrics thanks to them, and we were because of the conceit of the song – the Actually that is another song I am definitely less inhibited when it came to idea is that there are six billion people out proud of. I find the lyrics moving… but programmed drums and things. Claudia there but I can’t find the right one for me. that is probably just me! It’s about how it is a star in her own right and having her The suggested tips for finding a perfect is possible to get so caught up in the bright play live with us was the highlight of partner are quite serious though. Next time colours of books that real life seems pale my year. I am looking for one, I intend to use them all! There’s been a bunch of In fact, I’ve already used shows at the Institute quite a lot of them in of Contemporary Arts the past… mooted to celebrate the I also like the lyrics twentieth anniversary in Ampersand, because of C-86. Which of your of the way that each contemporaries would half-verse describes you like to see there and the same argument will you be playing? occurring, but each time R: We might still be too in a different place and repellent to the music a different season. I like industry to be invited! the pictures that come A: We are actually into my head when I sing still trying to find out the song – chilly winter about these shows, but days in Brixton, spring I’m beginning to think mornings spent in they might be mythical. Snowdonia, those lazy What I would like to summer after-noons at do is to take Dora to the beach and bike rides see Talulah Gosh, ‘cos through autumn leaves. she is a bit of a fan And I like the way (Bringing Up Baby is her these bucolic images favourite). But that are set up against a is not really going to very prosaic argument be possible. In terms – viz that marriage is so of con-temporaries, I completely irrelevant would be keen to see and un-necessary for The Shop Assistants, love and commitment. The Vaselines, Beat That’s probably Happening and The more than you were Pastels. It could also expecting in answer be fun to see Primal to this question. I will Scream – but only if shut up now! forced to abandon their Rolling Stones-alike Nice to see mention bollocks and return to of ‘The Very Hungry Caterpillar’ in and uninteresting in comparison. And being twee. Come on Bobby, you know Fahrenheit 451. Who’s the proud owner not worth living. you want to really! n of that excellent book? R: Our daughter Dora owns that book. Do you feel any kinship with The Magnetic 6 Billion People is reviewed on page ##. We are reading very widely in the 2–3 age Fields? I see you’ve played shows with them If you like what you hear, try delving into range at the moment. We’ve also made and their drummer Claudia Gonson plays Amelia’s impressive back catalogue. All up a lot of silly songs for her and her little on the new album. four Heavenly albums are well worth your sister Ivy. If we do record another album, A: Magnetic Fields rule! When I sang on time; try their 1992 album Le Jardin De the chances are it will be full of childish the first 6ths album [a Magnetic Fields side Heavenly for starters (if only to hear So references, silly rhymes and very easy project], around ten years ago, I only really Little Deserve). Tender Trap’s debut album to sing melodies. Pretty much the same liked one of their songs, 100,000 Fireflies. Film Molecules (2002) and the Talulah as we’ve been doing for the last twenty But they have just got better and better Gosh retrospective Backwash (1996) are years, in fact. since then. They’re one of those bands also highly recommended!

Summer 2006 23 When it comes to embracing lovable ONE LUMP eccentrics, there’s precious little room for doubt that Britons do it best; inexplicably then, we’ve been a bit slow to recognise the unequivocal genius of Psapp, a London- OR TWO? based duo consisting of big kids Galia Durant and Carim Clasmann. Hailing from a musical Neverland of an ilk you’ve never heard before, Psapp’s irresistible blend of juvenilia – two parts cutesy to one part coy – has been gleefully welcomed by American hipsters and couch potatoes alike. Giving Imogen Heap and Goldfrapp a run for their televisual bankability, Psapp have been busting out their ramshackle charm all over the place and amassing quite a following. Isn’t it time you caught the tail of the kite and fell in love with them too? Alan Pedder flies straight on ‘til morning to meet the clamorous, cat- mad pair...

24 Wears the Trousers magazine Psapp 25 Summer 2006 Summer that seemed like a – Everybody Wants To Be A n My ideal companion for a fun- . Will you be releasing it? We’ve recorded it for a compilation. I wasn’tI unusually naughty aschild.a

G: I was very demanding of attentionvery and LOUD though, andwas apparently completely I exhaustingtime with. to spend When I saw played you a cute at cover of Pukkelpop, theme‘The Aristocats’ tune, you Cat We were watching ‘The Aristocats’Carim’s roomin the other day and we from the heart. filled evening would probablyCutler, beif Ivorhe wasn’t dead.choose someoneIf living,I have I thinkto I wouldgo for Robert Wyatt. If he was grumpyI could still play with his beard. What you were like as a schoolkid? G: A good black ink pen. Preferably two, I think a lot of artists are naturally quite The cat! To acquireTo and learn the harp, to use our

Finally, it’s advicesentence: don’t leave home time! without… G: Complete this one .7 and one sketchpad, .5 thickness.wirebound. Everything And asort else itself goodwill out. The Only Thing I Ever DominoWanted Records.is out now on got so excited listening to theit sofathat jumpingwe broke on it valid reason to cover it. You describe your home/studio as being like an Aladdin’s cave. What should be thingthe wefirst rub should we come to visit? G: What would be your three wishes? G: piano more and to never run out of milk. who doesn’t have a telly either. Do you think themselves that tooseriously? manyWho would like bands youto spendmost a fun-filled take evening with? G: exuberant and funthat part butof themselves have to songs,perform to seriousoften conceal about justthe factone that theme.life is aI mixturelovebittersweet of gorgeously inelegant momentsamusement all happeningsame time.at andthe So althoughabout serious wesubjects, slapstick like we tend to tothese combine write with storiesembarrassments, aboutjust likeand accidents our make lives and somethingto try that is honest and mum’s to watch already had a that.song in the pub in Coronation Apparently Street, which oddly we’ve really impressed my dad

it’s – Cosy In songwriting, lots – , which is on a TV show now And Carim also has an impressive I have to say I would find that quite Why thank you...my brother Owen and

Enders caff? G: exciting. I would probably go round my when I was eight, we had a band calledand GOI still have recordingsmy brother of outme shovingof hog the theway microphone.and trying toI wasto sing always on trying everything.make radio plays. We also used to It’s sweetly ironic you’ve and managed old-fashioned to achieve so that muchthrough success the media of TVowning orwithout watching one!actually How will you knowwhen you’ve really hear one made of your it songs playing if in the you East- can’t I also wonder underestimate whether Galia’s voice, people which I think is sometimespretty incredible. How did you discover developand it? G: I wrote music as kids constantly. From Gradually, we foundtogether that a incorporated way we were of all interested working the in things of melodies making our going own sounds own on instrumentsand creating out of anything simultaneously,our thatour takes fancy. Ironically,survivor the is probably earliest aThe knownsong Rocket called [you’llknow it if you watch Grey’s Anatomy the theme tune]. strongly as Carim and Iother got and to felt knowmore eachand revealingmore comfortable the true depths of oddour instrumentrespective collections. collection I have a of huge half old Casios broken and toythings I’vejumble keyboards, sales.picked up from array of stuff, a whole studio for starters.

by hitting to be featured on the – New Rubbers Yes, after lots of experimentation It’s actually drum brushes on my Ahhh, dear old Snakey. To my Oh yes, Snakey. She did this amazing I got a nice percussion sound for You’re very nice, thanks. The sounds we

Well, I have to admit my bottom is the

incorporate and often even use as a startingpoint began to feature more and more When did you first begin writinghave anysongs of thoseand early ones survived? G: instruments and sounds wonder youwhether people use; sometimes do theoverlook you strong songwriting behind the scenes? the future. So much is made of all the unusual C: breathing sound, slightly hope asthmatic,she’ll be butlooked I afterwill well. be But there new sound-generating friends in moped. I think if we were trying to smuggledrugs, it would all be rather suspicious.maybe it’s all Or a double bluff...hmmmm… chicken with all her parts out,glove rattles, puppets, tills, balls of wool,biscuit pipecleaners, tins, planks of wood and bits of customs officialsbemused when they mustlook in luggage.the Psapp be There’s rather a broken mechanical gave her up with no resistance.a sad Itmoment was but the newpromised owner has to send reposing pictures of in Snakey her new home. I think horror, on the tour last in New US York, showa ladythat of shouted she our out wanted Snakey and Carim snake-like instrument you used to have at shows? G: I saw you play at the Pukkelpop festival in Belgium earlier this month. ButGenius! what happened to that amazing next day that I had made purpletwo bruises.massive normal or too disgusting to mention.C: a song called my legs very hard and discovered the G: mostpopular body part, foraudio purposes. The others that we’ve used are either very third album. What other body parts came in handy? bum which sounds very drum good brushes with classic and also cardboard good with tube a large the performance above occurred, board. it’s Carim: perfectly we realised the sonic properties of Gal’s Galia: bottom, sorry like to being pedantic. I be was fully clothed when pedantic but...er...I the album feature the sound of Galia’sbeing bum paddled with a hairbrush. Where’s the parental advisory sticker?! I heard a rumour that some of the songs on ONE LUMP ONE TWO? OR 26

Wears the Trousers magazine Lisa Germano eh wl atal i gt wre I worse, darker. and gets darker just getting I’m think it people that feel actually sometimes well Yeah, years. fifteen after it to used gotten have might you suppose I think will think. people they what guess and I ahead them. go at can laugh feel you to before have first you them but stuff, distance help can you that And funny. actually they’re that tragic so are a things like where opera it’s soap sometimes guess I I all. know, it don’t about humour of really sense I a have because do me for stop unfortunate but is feel, it wanna they what don’t feeling from I anybody conclusions. their own to come always should people that Well, like you? music. misunderstood concern your so to being the on side Does up pick humorous lot to a sweetly seem and don’t darkly people of painted often You’re California in chat. a for home her at latter Lisa up call the to chance the get to with thrilled was and opinion afflicted profoundly is fall in will love. Others effort. a as much too album take depressing, too the impenetrable, too probably dismiss and will listen cursory most debate; matter a is of touches playful more subtler, moderation. in even intense and intensely hopeful intensely sad, charming, intensely intensely funny, intensely be to her allowing indecipherable gravitas, more most bit a moments her inevitability even also external gives this that consequence, it’s a and as life), (and, death of topic core a around revolves World The Maybe In of Much things. she’s time weightier by this aided but – years fifteen for last degree the lesser a concept to new it a doing been not she’s – It’s side. hopping to side gleefully from and self-mocking from self-absorption separates that line mapping the out possibility, of realms the to eyes our open to trying is Germano Lisa World, so it’s – value safe. face and familiar beneath dip that lyrics rarely and balloon helium a of the levity all with music by bombarded being to used so just we’re depressing; doesn’t mean to have Intense spin. negative a misconstrued given often and that’s one no is but there doubt, that of adjective, appropriate an It’s ‘intense’. is than word that often and other, more any up crop to likely is word A Whether or not people will notice the the notice will people not or Whether Maybe The In album new her With what they thought of it and one one and it full of thought in they album to what Germano listened Lisa has a who anyone sk Alan Pedder Alan

write songs to comfort myself, and when when and myself, do comfort I to that songs write realised I because good more That’s it find are bleak... I than songs comforting death, the with of many preoccupied so though Even so. hope I might record things. this change Well, really? dear, Oh So by allowing yourself to be happy, happy, have You just that. be believe do really I Yeah, world? to the helping yourself unconsciously you’re allowing by So day. sad a on happiness to define and things feel really to happy are who people of strength the need way, people this because feel to have you that realise and books Zen read you then course, Of happy. you’re when guilty feel to not hard day it’s but every in beauty find forward to try You move all? at you can how gonna bombed, you’re be whether zone. know war never the you in If feel how must that’s people and – these place my into coming someone still it’s but war, the it’s like evil ok, not it’s – stolen got car my week This air. the in needs everybody that comfort a there’s that think I personally, time hard a having be may I if even Sometimes music, write I when unnecessary. so just It’s or Iraq. America in just not people, all with on goings evil of lot a there’s evil; horrible, It’s years three feel line? you the down do how – at time it about that reading worrying really remember were you I that and off kicked the before war just out came album last Your about. complain to nothing have I everything. and Iraq in war the with world the in healthy time hard a and having are alive people when be to lucky Sure…I’m pretty a huh? in now, right you’re place good like feeling you’re So put happens. what just see and I there out else. them they someone then that, comfort doing might they’re that feel I finally enlightened. It doesn’t mean you’re you’re mean doesn’t It enlightened. finally you’re ok when be you’ll says that thing Zen unconscious of kind a there’s but way, own your going aren’t if things down get can you Like, you’re moment. the in things up, of aware more wake you absolutely!”…when record, this end wanna I how this no, “oh like, was it Then that. sequence noticed kinda the I and changing of thinking we were point one at then but first, at wasn’t It a on off footing? things reassuring leave to ok”...was be intentional, it’ll that up, wake you “when are album new the on words last the how love I trying. on keep to He’s really cool and very insightful, and he he and insightful, very and cool end. really He’s the at I snippet stuff, little the him some sent just Gira the Michael I – when sending so end – was part the ghosts” liked the for I “except funereal, but too dark, was it really of version first My ago. years ten around him about it wrote I of honour in song Buckley? a Jeff write to you moved of Speaking deliberate. that wasn’t it Anyway, putting and opening the changing of thought record”.I the like of start the more that’s go, that”, you there do “whoa, to this the of want “I beginning said, I like wasn’t It it. use decision to the make you then and happens it – arty it call usually – don’t intentionally I anything do mistake. a actually was It kinda confused about why anybody would would anybody why about confused kinda There was I but think. music the had I when to point a was me helped and big really impetus a was He otherwise. out record this put have would I if know don’t I Yeah, you. in faith much so has he new that know to nice be your must It home? label finding you about are saying Michael…how just were you what to Back a such it’s song. sad that think don’t I but now weird, least of at kind It’s me. to waving Jeff see I song, this sing I When something. of and side wave better a at look can can you then it you accept in if maybe drowning – or – whatever you’re yourself when in maybe drowning that thinking was I committed idea. no have we know, really otherwise, don’t we he and thought people some thought suicide, people y’know, and, much some very him liked sweet I so was and He dying. was he been as have feeling might he what of my imagination about literally it any write Jeff just did I about more. just not I it’s – Now it it. like of really version my like didn’t just I words, the like still did I why did, I basically me, So because over”. it to write and it try you sending don’t you’re he “as process the said, in then and it hearing on insisted he Anyway, song”. the hear wanna don’t really rest, you the “no, like, hear was I to And Lisa”. a like of really part I’d just and it’s song tell, just can song I a of part because is this know “I me, to said before a brief interlude of silence. Does Does significance? silence. special a of have that interlude brief a with before ending an opens note, closing album a like sounds the what that curious it’s beginnings, and endings of lines the Along self-loathing. or narcissistic so be gonna not just you’re sad, be to going not Except For The Ghosts The For Except xet o Te Ghosts The For Except , what what , first. first. coming out of the shade

Summer 2006 27 28

Wears the Trousers magazine Lisa Germano also be beautiful. Did you think those those that think help to trying you be actually Did might birds beautiful. could but be sting also might that stuff with – dealing them and possibilities about all is not… not. but but sad creepy really really the It’s what about. is exactly it’s record perfect; it’s think I painting? you her to were introduced How something them. about and there’s sinister that glance more realise first you on then beautiful incredible really just – are paintings Sundsten’s Francesca artwork. the about Tell more me them. to much that do to need didn’t little from own separate world, their in existed kinda songs the that I realised Then money. more no I had and again over record all stuff to this have just would really I That thought I and me discouraged working. was that charm took the of It some away well. as work me, didn’t for up, open to that tried we songs new the of Some bigger. much so sound would would it it and up song sudden whole the open a part of drum all on – a or bassline a something like say, Things up. adding, it open to ProTools in time more spent up. On things opening for much time as have didn’t I really. same, the is sound The the sound. not music, the and lyrics the it’s But uplifting. more bit a is record this that you agree with do I although what got, got I’ve I’ve variety. much and isn’t there and paint paper have you have you like it’s songs; my on work and home come bookstore, the at finish work just would I it. do and any have don’t a studio into go to I afford I can’t and money because way same exactly the in recorded both were they Yeah, both conditions? similar were under perspective. recorded they because different simply a that Was from things at Pig one, sonic last the as same territory the in be to seems album The album. the finish and differently them see to world. me helped That the in out be should they that and emotional and valid were songs the felt He me. helped really it so sometimes moment the understand don’t I it. to listen to want , though the songs are clearly coming coming clearly are songs the though , Lullaby For Liquid Pig Liquid For Lullaby In The Maybe World Maybe The In Lullaby For Liquid Liquid For Lullaby Lullaby… , we we , , so we we so ,

e lyn pao n al f sde a sudden a of all and piano I’d playing be apartment; the into down them they’d bring sometimes the and all roof the birds from dead time me bring to just used cats they’re My and know! don’t you – dead alive him eat gonna not or he’s himself, if offering what he’s and dying knows is bunny he that if What look me. to doesn’t scared it but know, don’t I bunny? bringing me this offering. So I started started I So offering. this me me, for bringing good something doing were they thought really they but much, so me upset would it and it kill would cats the then and drama big this be would There and around. up fly jump then it, stunned only they’d like dead, the from back come would bird Tutti, and in the sleevenotes for the new new the for sleevenotes the in and Tutti, Miamo- cat your about know will years for music your following been have who People it. use us let to amazing so was she Michael’s of friend good a at she’s her but all know don’t I perfect. so just was it and artwork Then Francesca’s me ideas. sent any Michael with up I coming because wasn’t amazing so just which is in God way Young another That’s for album. cover sad the a have wanna didn’t I dead a bird. to me me bringing by remind life my to appreciate trying just death. a were like it They see can’t I offering an it’s because maybe that way, that it at looking too. When he was dying, I would go see see go would I dying, was magical he really When but too. sad, very was it Yeah, dick! a what Wow, heard! ever had I thing crying” rudest the was that fucking thought I – quit gonna she is said “when and building my of called management actually the neighbour my died, Tutti of Miamo- When idea record. this the on sad so death find don’t I how I what about That’s mean sweet. of kind was really It elaborate? to care there, story sweet a of kind there’s like Sounds cancer. of dying was he as him by written actually that write you album it sweet because it’s so scary! so it’s because sweet make it to trying but me, towards anger and his person a towards anger total about is song That anything. as me communication for telling vehicle a it’s much as just goes is Anger know it something. I but second a weird, in kinda then and one fine moment keep be can is I like do It’s it. can with you working All don’t is. I it but what on know I going and therapy something’s get know I thing. bad is a it’s anger my bad; no, but it – years because it fucking of took making actual the record not this – on lyrics the of had writing I the in thought kinda I unfortunately! No, all? at out mellowed more than just a sad song… sad a just than more became it and song the wrote and home came I anyway, But psyche. your of saviours like are Cats anyway. that do Cats worried. less feel me make to trying and me to them giving was he that know I me…so to came just songs these words, every these and him, hospital hold and day the in him You once said that you’re you’re that you have anger, to quick fairly said once You interesting. life making and doors opening way, refreshing a quite in confrontation with new of the on album. some songs other about the talk Let’s I do. really I that but know don’t stuff, magic this stuff, this believe to like would I bit. little a only stuff this I believe course. of it, wrote he that joke a It’s through. going was he what through going was he because or whatever, melodies the me brought He Definitely. channelled words? the he like was it So e Thread Red odn Cities Golden deals deals was was Lisa Germano 29 Summer 2006 Summer n Yeah. It’s really weird when people listen to these records. I placethink forthere them,is anda they are –they all deal allwith different differentthings. Ireally wish that more people if couldit could hearhelp them, them that I could biggerreach audience a – not a huge audience, but a bigger one. There are millions of people in therapy, y’know, in AA things. or I just all think there’s a place sorts for them. of I’ll keep my fingers crossed. I think, deep down, if therapy they– and I weredon’t mean gettingthey should – but if they were really stripping away what was going on, they’d find saying that ‘no’ theyto themselves. were Things like “no, you’re not “you’recool”, not good enough”, “youbetter do stuff other people do so that you can be a part of this world”, and that’s saying that’s ‘no’, not saying ‘yes’. It’s about stripping it away to find out what is really going on here. Nothingreally meets the that’seye, I don’t think, and going that on drives some people crazy! finalaHere’s thought then…it’s been fifteen years since you released your – firstwhat’s albumthe overriding thought when lookyou back at what you’ve achieved? To be honest, I don’t find thing, itbut I areally feel conceited that my records are worthy of being there, I really do. I am not surprised in any way, shape orI’m not popular, y’know, form but Ido think thatthat I sincerely really wanted to who reach might peoplebe going through stuff, I things could help them to go through if they Do you think you’ll always make music?I don’t something know. to the world and I I think I when finally reallyget a record I’mdone wanna I givingdo feel something. givethat be Butso self-focused you all have the andtime to there’sto do a this side of tome teachthat or wouldwork at like a volunteerabused place people…Ifor don’t know. I Icould mean,make a if living doing that this and I feel am then actually of course I offeringwould wanna keep something,doingit. It’s kinda weird. Do you think that perhaps we’re tooliving much of a ‘yes’in world? A ‘yes’ world? Why would you think that? I think there’s a lot of ‘no’ going on… Yeah? But don’t you think that people are becoming way too desperate to be famous, to be liked? [laughs] are obviously doing things to be liked, but it. If Liz Phair felt comfortable to albumput her out then I’m some sure people weren’t gonna she like it. knew that GeekThe Lullaby For Lullaby For Liquid , but, they actually sent Lullaby… was from a guy who hated it so , and I think that was because I have a to be an album that people should not buy this record”. I thought that was so funny, that it must have some touched way for him himto feel such in anger about something more poppy. I’mdoing that, it’s just not not what comes out! against You wouldn’t be Phair-style worried backlash? about No, aI think Lizyou should justwant do what to you do, records and out you when you should know doneandthey’re realised. thatPeople will onlyeither they’re put like them or dislike them…I mean, one of the funniest reviews I got for Liquid Pig much that he wrote, “whatever you do, do one, but still… It’s not exactly dinner party music?Yeah, or even to atmospheric, play but at a I speaks store!to thinkone person, that It you’re that listening is it to it within really your own experience. that’s I onethink reason why mysell a musiclot, because doesn’t it doesn’t speak to of a peoplelot at the same time. I y’know;don’t themind, letters I get from people when it does affect them But I are still reallythink it touching.would be fun to write records out about ‘poor pathetic me’, person! oh, Iwould feel what sorry for a that persontoo and send them self-help books. But that’s not what I’m doing at all. I don’t relate to it at all thatme. But theyit’s ok to not;feel it’s just fine.sorry There’s for a lot of stuff out there to relate to. You said you intended Pig listen to alone...would you about the saynew record? the same I think this is a little more open than that Oh,knowI theguy that wrote that. Hesaid thatabout biblesme andstuffyears agoafter Girl song that says that if you don’t believea god then youin have to believe in yourself. People misunderstood that tofor me feel so, sorryyeah, in general,send people me don’t stuff like something that. like People “I’m will worriedand say I aboutwish you”they wouldn’t. aren’t justThese about me,records they aren’t about you feeling sorry for me. If I was just putting the vulnerable things like fire and passion and death and blood. I wanna feel don’tstuff, wanna I not be alive! Funny you should gonna mentionask…I read thatafter thelast album, that! I your wasfans were so worried about your state of mind that they sent you self-helpall booksmanner and bibles…of

, can you Red Thread In The Land Of Fairies is a beautiful song too, though I find so endearing. That’s also what is about. It’s about feeling compassion for or they are crying sweet that about that’s when it.I feel connected It’s to them. just Just so the fact that they’re trying is whenI really do communicate is when I’m feeling some of the scarypeople stuff, are or reallywhen trying in their feeling the wires, through through TV, whatever through email, – communicating. they’re It seems not like really the times some light on what it’s about for me? It’s about not wanting to be dead!times Some- when people – if are you communicating wanna take it literally, through Wire the meaning a bit oblique. Can you shed don’t get that, understand thenthe music, theyso I bugguess me sometimes. don’t it does really people understood my musicisn’t really because about feeling it sorry for aboutme, mockingit’s how we feel. When people ridiculous.mockingIt’s feelingthat instead of saying “oh poor you” and sympathising with it. It’s like what youstarted said thewhen interview…aboutyou how I wish was like, “fairies? I don’t even– alllike thesethem” things we try bettertoare actually make making usus feel dead,feel it’s at the time about and angels I and waspositive fairies, energies. writing being Then with songs around this song it really kinda pathetic. So mockI myselfwas becausetrying wondering to gets younowhere. I was trying to be real positive not going out into the world. I rememberat the time I kinda was wondering really why, depressedwhy I was and feeling it to Michael and he really likedit it.says What to me now is thatnarcissistic when you’re so and that’s why focusedyou feel dead, on because you’re yourself, things ending or being accepted – backI went and looked ateven gonna put that it on the record, song. but I sent I wasn’t when this record started coming together and I realised there theme was some – sort about of a feeling dead or dying, How about tell me more about that? I wrote that a long time ago, actually. But there. It’s a drag that I can’t have it on the radio here – they like it but youthe ‘f’can’t word.say fighting a lot and he just went “go to hell” and I went “fuck you” and hung up…then I thought, oh my god, that is a song right scenario, wanting to tell someone you love them but being blocked by anger. Well, it was a real conversation. We were I love the ending of the song; it’s a familiar Thrall of the wild

Should you be of the opinion that Argentina’s best musical export to date was the inspiration for Evita, please, stop reading now. The term ‘world music’ may be practically impenetrable but that’s no excuse for ignorance. Still here? Then the chances are that you’ll have heard of Juana Molina, the bold sonic sculptress from Buenos Aires. Don’t let the fact that she sings exclusively in Spanish put you off; her recently released fourth album Son is a delicate bear hug of beauty that literally teems with the sounds of nature. Ten years since she abandoned a hugely successful career as a comic actress for music, Juana’s decision to follow her heart continues to reward all parties. Adam Smith caught up with her by digital carrier pigeon.

30 Wears the Trousers magazine Juana Molina 31

Summer 2006 Summer , no one was talking Tres Cosas and . Son is out now on Domino Records. cloud. The moon becamebehind it whiter and andthe cloud hid a silverbecame edge. pinkThen the withsky got darker shiny- that electric blue colour just before it blackgoes - and all of a sudden there wasthunderbolt a little inside totally the impossible, cloud. like Itbut I saw a it. sounds Hollywood film, It took ten years to get here, and thethis furthest is not you can go! Do you think that people’s initial resistanceto your determined music to succeed? made It maybe made you me stronger, stubborn.but even notI didn’tmore mean more to a win. matterNo, ofit wasliving or becausedying. I would haveI diedhad of sadnessto if not.do it You’ve said in the past mybest thatfriends…that’s “mistakeshow you open up new are ways, new worlds.” Is that a philosophystill adhereyou to? Yes So what’s the best mistake you ever made? leaveTo my TV show. Random question finale...describe beautifulthe most thing you’ve ever seen. I was in a was terracea sunset the with night of some moon a fullrose, friends. moon.giant The and It orange.completely The sky clean,was except for a tiny little since you’re so showered in praise! Have you stopped reading your that reviews? worries you? What is Iwas it very worried because when Irecorded Segundo about me at all. I was completely unknown.I made those opinion. Then records I had to withoutmake withouta new record disappointing anyone’s alldon’t those read people. everything, mood I of I some critics. just Well…some overseeare of themso the nice that a Iwhile. eat them! I get fed for In the US and people UK at aren’t least generally it singing seems very actors that receptive (or matter!) actingand the ones to who do succeed singersalmost always for do so that by taking the commercialroute. Why ispop that do you think? Probably because doing it’s something easier everyoneand to understand can succeed quickly. listen not what But I towas successlooking for. I was abandonedamazing careeran to do what I love the most. I read in anscared by old glowing interviewreviews how youand can that evenI leavewondered you the house these get days

.I Segundo said a song is your most Son ). But I have to say The Law Misterio Uruguayo other people try musician’s harder revenge! for a Ha ha!!! change? A my brain is too small need toor work a iflot on whatit I do. is because I Would you English ever language consider album justwent down? to recording see how an it Iwould feel so unprotected. Iwouldn’t know how I was saying things, who like.I wasEnglish talking is a borrowedable to communicate,language that’s all.to be Seeing as you to foreign grew music, up is listening it gratifying mostly to make You’ve had a already. pretty Do unique you foresee careerchanges any in path other direction? drastic thinking For example, recently I howmight was lend easily itself your to much remixingdetail music to pick as out there’sand workremix so with.album something Is youa would consider? You could show Madonna about confessions a thingon a dancefloor! or twoHa ha! Thank you. I outwas if recentlyI am figuringlazy or overwhelminga hard toworker. do moreI than findone thingit ata time. I don’t know if I can’t do it because Do you see the yourself realms of forging avant progresses? further garde Do as into you your getlimitations career of traditional dissatisfied song forms? by theI don’t really think about what I’m doingwhere or I’m going. I just feel more confident.I still believe in the beautysong. It’sof justa thattraditional they are rare. I whatmaybeI do because do I can set myself free, I can abandon myself and feel transportedthan just singingmore a song. In some ways approachable I think work experimental but interms ofthe way inwhich the also songs have your been composed. Do you agree? most Hmmm…Ihave a special love for think a lot of the ideas were sketched(e.g. there it was more thoughused low-fiI exactly thesame tools tomake than thisit and the one.same instruments, Even howI tojust record learned better and everything’s moresettled down. chords forever...weeks, months.get I hypnotised used to by something, my someone, own playing.had to have a But verse, a chorusSo I started and to awrite bridge.‘regular’ songs. Little by little, when I started to get more confidence in my writing, I abandoned thatand legalcame formback to the repetitionslove so much.I used to

? Son ! [the child and

. But it was only La Verdad . More quiet, though. Segundo is mostly inspired by the Son Segundo and I decided to go further. L’enfant et les sortilèges When I was a young shy girl, I onused to the play guitar the same two, three or four more than you have done in the past. Is thatsomething you’ve avoid deliberately on your previous records? strived to sounds in These new songs seem to use repetition microphone when I was doingdecided vocals, to so makeI them for everybody, part but of there’s also the a lot of recordhome in and around your home? Yes, all the there sounds while are I was those to recordingthe that songs. and Some were listeningof them slipped in the The field character! recordingsDid you collect most of the sounds certainly do add noticing one another. The fact that younever can tell where a leafcricket will will shutfall up. or when a randomness of nature. The andsongs frogs,of birds the movement thingsof fireflies. happen How at the same time without as well touchstones. - I still they listenpretty tooften are theseand discoverrecords definitelynewthe artists past. from general specific individual sources What were of your key inspiration? inspirations for I’ve named Schubert, Bach and Debussy Crimson, as well nández, as in poetsthe past. like Aretouchstones these Josèor does justeach album Her-benefit generalfrom You’ve named such Ravel, influences Stravinsky, as Bartok, The Beatles and King So it was like having a child;it I andtook carethen of it grew andup many andchildren. had a career… I have to admit I hadthe the motherfeeling of of beingbecause once I made the thepath andrecord, opened theit doorsmade on its own. Even so, some artists refer ‘children’.to their Do songs youas have affection a for them? similar term of of it. I neither feel nor want to call‘my It’s son’. atoo record serious. also ‘are’. Things are. because Yes, I it’s was totally worried, differentmeaning. I almost than didn’t call the it that real because I love the fact simply that means the ‘sound’, but titlewere you of worriedthat thepeople would misinterpret album it as ‘child’? ‘Son’ actually means ‘pleasant sound’ and Ravel’s the spells] Thanks! When I started to meando that to I didn’tmiaow, but doingsuddenly remindedwhat meI ofwas the duet of cats in Nice cat impression on hen it comes to Oscar night, the the first modern artist we covered”, explains He brought all kinds of weird instruments award for best original song is Kate. “It actually came about through a lie. to the album – musical saws, dying buglers, often one of the most dispiriting We had wanted to play at a London cabaret whistling solos. He has really managed Wevents in what is already a fairly facile and club night called Duckie for some time and to create exactly what we wanted. He’s a gruelling ritual. When used properly, music Marcella’s husband told the organisers that genius really.” has an unrivalled power when it comes we do a great version of Wuthering Heights. Since forming their act two years ago,

the Puppini Sisters Puppini the to adding greater depth to a visual – why Well, we didn’t at the time and – since we the Puppini Sisters have enjoyed a fairly assault one sense when you can batter two? got the gig – we had about two weeks to whirlwind career and can now count the – so why the Academy voters insist on arrange and choreograph the whole song!” likes of Kelly Osbourne and Kate Moss as picking almost consistently the blandest, Needless to say, their startlingly fans. Their quirky, fun-loving approach and least interesting examples is something of a unique version went down well with transfixing stage presence so impressed a mystery, one that almost certainly includes the (predominantly gay) crowd and the major label talent scout that he practically no small amount of pressure and cajoling by Puppinis have since gone on to cover a handed them a deal worth £1 million on record execs. How else can you explain past variety of hits on their debut album Betcha the spot: “We were really chuffed that it all winners like Phil Collins (‘Tarzan’, 1999), Bottom Dollar, including Gloria Gaynor’s happened so quickly. The A&R guy from Mariah Carey and Whitney Houston (‘The I Will Survive and Blondie’s Heart Of Glass. Universal came along to a night at the Prince Of Egypt’, 1998) or this year’s artless Even The Smiths’ Panic has been made over, Trinity College of Music last September entry It’s Hard Out Here For A Pimp by Three much to the annoyance of some po-faced looking for acts with commercial suitability. 6 Mafia from the film ‘Hustle & Flow’? The Morrissey fans! It’s all done deftly with We weren’t even going to perform but only latter’s triumph was especially criminal tongues planted agreed to it at the last minute. He saw us when Emmylou Harris’ exquisitely moving firmly in cheeks and snatched us up!” A Love That Will Never Grow Old from the but it’s the Despite this ever so fortuitous ‘Brokeback Mountain’ soundtrack wasn’t authenticity encounter, the down-to-earth Puppinis even nominated. that truly have still had to slog their guts out in the One of the sorriest decisions in recent impresses. run-up to fame: “Oh, we have done all of it! years came in 2003. Whilst it was inevitable Part of this Dragged our PA to venues and that the final instalment of the ‘Lord Of is undoubtedly every-thing,” laughs Kate. As she The Rings’ trilogy would sweep the board, due to the attests, however, they couldn’t Annie Lennox’s theme song Into The West was genius idea have done it without the notable only for being terrifically dull and of getting help of Marcella’s contrived, faux-evocative fluff. With its close Belleville car, lovingly harmony singing, 1940s-style – you know, Rendez-vous nicknamed back when a note was a note and needless composer ‘Colette’. warbling was a no-no – Benoît Charest’s Charest to theme song Belleville Rendez-vous would sit in as have been far worthier. Taken from the producer, and charmingly oddball French animation ‘Les the Puppini Triplettes de Belleville’, it was an absolute Sisters readily delight – different, fresh and brought to life admit that in ecstatic fashion on stage and triumphantly working with stealing the show outright. one of their It may not have charmed the voters but original when Italian jazz student Marcella Puppini inspirations sat down to watch the film in September was a truly 2004, she was mesmerised by the music and memorable the faded glamour of the ramshackle but experience: “ talented titular sisters – Violette, Blanche I love his and Rose – named after the colours of treatment of the French flag. The indomitable spirit the music,” words by Anja McCloskey of this washed-up trio of cabaret dames says Kate. inspired her to start a group of her own in “It’s so the style of The Andrews Sisters, with all acoustic and the costumes, swingin’ rhythms and sexy really old dance moves of the bygone era included school. It – enter the Puppini Sisters! was a dream Together with her fellow Trinity come true. College of Music students Kate Mullins and Stephanie O’Brien, Marcella started to the ‘40s listening to classics from the 1940s, rearranging and revamping old hits such as Boogie Woogie Bugle Boy and Mr Sandman. But the ‘sisters’ were soon to discover that performing modern classics 1940s style could be just as much fun. “Kate Bush was

32 Wears the Trousers magazine the Puppini Sisters

“We would never trade her in for something Whoopee acts along, maybe some dancers Luckily, they opted not to incorporate more luxurious, even if we could. She has and a magician. We want it to be more like any moves from Marcella’s days as a pole done us such good service over the past a show rather than just a gig.” dancer at London’s lesbian Candy Bar: “We years. We’ve grown to see her rather like Indeed, the Puppinis themselves have regularly perform at London’s Shadow a pet!” always been a show rather than just a Lounge, and there is a pole there. We’ve And, despite performing to large band. Their choreography is synchronised tried it, but there are a lot of injuries that crowds at numerous festivals, the Puppinis to perfection and the moves effortlessly result from those kinds of moves so we continue to entertain the small but hip incorporated into the music, much like tend not to use it!” London crowds that supported them from their 1940s idols: “The Andrews Sisters Incidentally, Marcella’s CV also the very beginning, regularly appearing have always been a great inspiration to includes a top-notch fashion degree at the gloriously kitsch Bethnal Green us,” explains Kate. “They were so tight and two years’ work experience with Working Men’s Club and East London’s and just knew what they were doing.”But legendary designer Vivienne Westwood, black-box bar Bistrotheque. “That’s where choreographing all the songs did not come who has given the girls her enviable seal our roots are and that’s where we’ve built easy: “Well, let’s just remember that we are of approval: “She had a big influence on up a very trendy following,” says Kate. “It’s singers. It’s taken us quite a long time to our look and had her hands on sewing very important to us to keep that audience. get everything tight. Since none of us had our costumes,” beams Kate. “It has been And, as weird as it may sound, the Bethnal a rehearsal space, we even used to go down hard to achieve a uniform look, because Green Working Men’s Club is actually to this café we we are all different shapes and sizes. But a very up and coming venue, so for knew with she definitely helped us to get a bit of a us it’s definitely worthwhile.” huge mirrors modern twist on our image.” Incidentally, it’s also the home so that we There’s no doubt that the Puppini Sisters of the Whoopee Club, one of could get have a good sense of timing with their act. London’s finest alternative practice.” cabaret ventures and a regular collaborator with the Puppinis: “We have done bits and bobs in the past with them. We’re actually doing our first big national Vintage chic is all the rage, and people tour in October/Novem- are flocking to retro clubs in London’s ber and would really love vibrant, revived East End for a dose of the to take some of the old school. Of this the Puppinis are acutely aware but they’re adamant that they won’t be intimidated by acts trying to jump on the bandwagon: “They can try as much as they want, but it’s going to take them a long time to get it as tight as we have,” warns Kate. “I mean, we are all trained musicians and know what we are doing and it’s taken us a long time. It’s a work of blood, sweat and tears. So if anyone did jump on the bandwagon they can give us a run, but they will be about two years behind.” And they will also have to watch out, because the Puppini Sisters have their sights firmly set on world domination: “We definitely have some interest from America, Japan and Europe. We really words by Anja McCloskey want to take it worldwide. We would love to go to America, I think we could really jazz it up there.” She has words, too, for any naysayers accusing them of simply being a glorified tribute band. So inspired were they by Charest’s involvement in Betcha Bottom Dollar that they have since begun to write their own new material, Puppini style of to the ‘40s course. “It’s really hard because we’re not quite sure of how to approach it. Do we write them like modern day pop songs or in the 1940s style? We’re all working individually on this right now and hopefully album number two will be originals.” n

Summer 2006 33 so long and thanks for all the riffs ( )

t’s 1990 and twenty litres of morphine, in Le Tigre, Bjelland in Katastrophe Wife Corin Tucker, who, with her friend Tracy a wardrobe full of flannel shirts and and Wolfe in Partyline. Sawyer, formed the duo Heavens To Betsy an army of skateboarding longhairs Blasting through to the turn of the in 1991, just as grunge went into overdrive Iare poised to revolutionise the music millennium, however, and there was surrounding the release of Nirvana’s industry; grunge, an inevitable post- really only one band who truly endured, seminal opus Nevermind. A split 7” vinyl metal, predominantly male movement is transcended all the hype and are still with Bratmobile surfaced soon after, about to land. Naturally, there is a female considered to be a relevant, contemporary followed in 1994 by their reasonably reaction – not so much an anti-movement, outfit today. On June 27th, 2006, however, successful debut full-length Calculated, but at the very least an alternative. With that band unexpectedly announced an but the partnership was fairly short-lived. prototypes Joan Jett and Sonic Youth’s Kim “indefinite hiatus” from the music industry Meanwhile, in Olympia, out-and-proud Gordon at the reins, riot grrrl would soon following the release of their seventh and singer/guitarist Carrie Brownstein was rear her head, shaking from her hair the in many ways greatest album, The Woods. enjoying some success as one-third of traditional punk acts that woke her. Tiffany Daniels reflects on the career of queercore outfit Excuse 17, and the two For the next five years, feminist Sleater-Kinney and contemplates the sorry bands often found themselves sharing a musicians such as Kathleen Hanna (Bikini prospect of life without them. bill. It wasn’t long before Brownstein and Kill), Kat Bjelland (Babes In Toyland) and Tucker became firm friends and decided Allison Wolfe (Bratmobile) would whip up Hailing from the Pacific Northwest to start their own ‘side project’. Named around them a political force not easily was almost a prerequisite for sporting after a street in the town where their ignored and which continues to be hugely the grunge label and it’s surely no early practice sessions were held, Sleater- influential. And though their original coincidence that the majority of the early Kinney was born and soon became the trailblazing bands would quickly become riot grrrl bands came from the same prime concern of both women. Notorious consigned to the history books, many of locale, mostly in and around Seattle and for their drummer troubles, the band the women at the forefront of riot grrrl Olympia. One of the first-generation went through a succession of different remain involved in the scene, e.g. Hanna women was Oregon-born singer/guitarist line-ups, with Carrie and Corin the only

34 Wears the Trousers magazine Sleater-Kinney

constant, before finally settling on Janet encouraging women to participate in the split seems unlikely, for although there Weiss (then, as now, one-half of Quasi debate just as much as men. were disagreements and fraying tempers with ex-husband Sam Coombes, formerly Sloganeering aside, Sleater-Kinney’s at times, mutual respect and a shared of Elliott Smith’s Heatmiser) in 1996. contribution to the riot grrrl movement love of what they were doing allowed The incredible chemistry between is clear, though they were not so much them to see past the heat of the moment. the three women was always in evidence, pioneers as they were keepers of the Talking to British music mag Comes With from the release of 1997’s Dig Me Out, flame. Their influences on other women A Smile (also now sadly defunct) last year, a jaw-dropping collection of passionate are far-flung and enormous. Bands like Weiss attributed the line-up’s eight-year performances and memorable tunes, to The Gossip and up-and-comers The longevity to the fortuitous triumvirate last year’s awe-inspiring The Woods. Noisettes owe much to Corin’s trademark of luck, respect and friendship, saying: In addition to these flying musical bellow, while countless others have been “It feels like we’re doing something sparks, the trio shared similar ideals inspired by Sleater-Kinney’s capable important, more important than working and political agendas and were infiltration of the mainstream without at Starbucks, y’know? That’s a hard particularly devoted to independent, compromise. That they’ve gone out on a thing to throw away just because you’re regional record labels that supported high is as impressive as it is frustrating uncomfortable or upset. Those things their feminist ethos. Both their pre- – how many bands are able to blow the you can work through.” Weiss albums – 1995’s Sleater-Kinney critics away with album number seven, if Perhaps they felt that the new, and 1996’s Call The Doctor – were indeed they ever reach such a milestone? harder direction they’d taken on The released through Chainsaw Records, an In March 2006, The Woods walked off with Woods exhausted their ideas for the Oregon-based indie devoted to queer- the PLUG Independent Music award for time being, or maybe the constant grind core. After Janet became a permanent album of the year and was also nominated of being on tour has worn them down fixture, the band signed to the un- for the inaugural New Pantheon Music and forced them to make compromises impeachably cool, Olympia-based label Award (the prestigious US equivalent of in their personal lives. Whatever the Kill Rock Stars, home to many a riot grrrl, the Nationwide Mercury Music Prize). reason behind it, the fact remains that who released their next four albums up Their feverish live act also picked Sleater-Kinney played what may well until 2002’s One Beat. up hundreds of plaudits, including rave have been their last ever show together But when faced with the reality of label reviews from the NME, who gushed that in front of a rapturous home crowd at downsizing, Sleater-Kinney voluntarily the girls play “brilliantly, passionately”, Portland’s Crystal Ballroom on August departed Kill Rock Stars and spent a year while they picked up yet another PLUG 12th. Fittingly, the last song they played without a contract before inking a deal award for best live performance. was One More Hour (“I know it’s hard for with Seattle-based label Sub Pop for The Not ones to shy away from creative you to let it go / I know it’s hard for you Woods. In doing so, some argued that the relationships with others, Sleater-Kinney to say goodbye / I know you need a little band had compromised their otherwise consistently released split EPs, singles more time”). staunch dedication to their riot grrrl and compilation exclusives throughout When it came to sticking to their principles, given that 49% of Sub Pop their career. In 1998, they issued a split principles, developing their sound and is currently owned by multinational single with Cypher In The Snow as part never looking back, Sleater-Kinney conglomerate Time Warner, but the of the Free To Fight campaign promoting have proven themselves to be incredibly politics remained. self-defence for women (www.freetofight. worthy. Though it’s been roughly a With every album, Sleater-Kinney org), whose original compilation album decade since riot grrrl appeared to found room to address many a feminist from 1995 featured tracks from both reach its peak, Carrie, Corin and Janet issue. The song A Real Man, for instance, Heavens To Betsy and Excuse 17. Whilst propelled themselves into an altogether declared open warfare against the Janet is off playing with Quasi, Corin different playing field to their peers sexual dominance of men, Anonymous occasionally does time in Portland-based who fell by the wayside. Despite moving challenged women to become more band Cadallaca alongside (usually solo) further away from their definitive punk vocal about the sexism that surrounds singer-songwriter Sarah Dougher, while sound and into more angular realms with them, while Ballad Of A Ladyman stressed Carrie teamed up with indie-rock icon each successive album, their popularity the importance of fighting for female Mary Timony in 1999 for a single EP continued to grow without costing them independence within the music industry release as The Spells. A year later, all an ounce of credibility. in a direct attempt to appeal to a new three stood in as the backing band for The Sleater-Kinney’s enviable position generation of riot grrrl artists. Go-Betweens on The Friends Of Rachel as one of America’s premier rock acts They didn’t soften with age either; Worth, their first album in a dozen years, has remained unchallenged for many if anything, the title track of The Woods to huge critical acclaim. Also notable is a year, and even if there were another was more vehement than ever; relating their cover of Hedwig & The Angry Inch’s dominant rock ‘n’ riot girl band to fill back to their earlier song Little Babies, it Angry Inch, recorded as a duet with The their shoes, their unique sound would be uses a retrospective tone to assert the B-52s’ Fred Schneider. In a neat twist, nigh on impossible to imitate. With them dangers of heterosexual relationships Hedwig’s singer/lyricist Stephen Trask hanging up their guitar straps, the music and, in particular, how they can lead to guested on One Beat’s Prisstina, providing industry has lost something priceless, female confinement. the only male vocals ever to appear on a and the cause they once represented They had other bugbears too, such Sleater-Kinney album. has lost even more. It will take another as the war in Iraq; much of One Beat Given their undeniable legacy, it’s revolution to raise the war cry they was an effective post-9/11 statement of more than a little sad to see them throw managed to deliver. discontent (see Faraway and Combat Rock in the towel – though “indefinite hiatus” in particular), but even then they couldn’t does leave room for some hope – and Check out Tiny Suns Infused With Sour resist a feminist slant on the matter, begs the question ‘why?’. An acrimonious (toiras.blogspot.com) for exhaustive info.

Summer 2006 35 36 Wears the Trousers magazine Broadcast 37 was Summer 2006 Summer Stupido – . was off a cassette Stupido ? Misc. and and Misc. The Future Crayon Do you think EPs have been importantyou as ato band establishing a fanbase? I think they have because really they’ve worked allowed for different things and us take us a few more risks, to particularlywith song structures. liketo We explore havesmalla vocal section and then itbursts into a groove or a really chop and sample, change it and and mess around you can with structures when the pressure’s off and approach recording EPs differently toway the you approach albums…what think do that you means for the overall The Futuresound Crayon of When you’re recording rework an songs, album, rearrange you you songs – remix your workingis songs, developingprocess all you the of time. a And then sudden all then, thatwhen the projectpressure’s off, pops finishessomething out that’s andgreat and reallyfresh easy sounding.and And happens that’s with our always EPs. Because what we record them after the album – we get theout albumof the way and hit the deadline can)(if we and all of off a and we sudden can relax the and then pressure’s brilliantsomething pops out. So really I approach wouldn’tthe EPs differently, say I think we the process is different. quarter Most or a EPsthird of arean album, a soof the thatarc recording is shorterenvisage and it more.you can You have EPs that are thought of as significantquite in the evolution of your work. which are an extra track forHaha Sound the Japan releasefor the of NME – but we justwere crap.thought So it isn’t theyquite everything, but almost…98% of what isn’t on theis on albums You’ve said in prior interviews that you that really work. We’re ? on albums, so they chose themselves.far as I can thinkAs there are only two tracks that weren’t included. To would be honest, have we included those two tracks, sure how much people thatcan from onedigest band. I don’t knowall whetherof it’s been to our detriment sometimes that we’vetried to do too much. Perhaps we’ve spread ourselves a littlebut I thinkthinly there areat some greattimes, tracks on The Future Crayon much more focused now in though. on what we do How did you choose which songs to put on The Future Crayon It’s all the tracks that were never included try everything. We soundtrack were obsessed albums with and about what’ssoundtrack brilliantalbums is youfunky get trackthat with the abstractit, sounds and on then you vocal gettrack and that then the sweet nursery track femalerhymeythat narrates some emotionfilm in itself.the You’re spectrummusicof exposedsoundtrack aon album, to and a I broad think that Broadcast was always try our that to a ideal. soundtrack umbrella album might…I’m everythingnot been swapping tracks anyway. But it stops them being rare. Sometimes I withget ‘hardfed to upfind’ things; I think to it’sjust nice put them out there. The songs obviously periodoftime, spanperioda inwhich your band quite a has changed long quite a lot. Do you think recordthis functions as a sort of retrospective? Ithink it does. It’s like the rings of atree… the growth of focused the in band. a lot more I over think We the ten were years. we’ve very ambitious and wanted to just put them out I for imagine people. most Although Broadcast them…everyone fans have on got the message board’s The was a managed

. It’s nice to Tender Buttons I don’t know…we Haha Sound ClareByrne [laughs] as rounding up some of your was only on the B-side of Come On Let’s Go imultaneously self-deprecating and confident, whimsical and incredibly incisive, gently spoken and utterly

Distant Call the 7” of this now? It was always an option becauseto release them, they were quite limited. Like Itseems likethis project has been quite long intended. Was it the tenth anniversarythe firstof single that made you decide to do thinkpeople will be interested in.don’t We expect it to sell loads – it’s just a nice little novelty thing really. rare singles. It’s ten and it seemed years like the forobvious thing theto do really. band There are some rarities there that I forgotten song children? The orphans! just liked the idea of putting out those motherly record and that was a fatherly Future record…doCrayon you see tograb Trish fora chat just before theband went on tour for the first time this year. You’ve said that tracks, draws attention to just how facetedmulti- and exciting this band isbeen for ten years. and has strong, and evocative of childlikeTheir naiveté. new record, The collection Future of Crayon, their a B-sides and other rare of electronica, library music, nursery psychedelia, rhyme, movie a sound female effects vocal that and is at once pure and experimentingand pushing the boundaries, Broadcast elude all attempts to categoriseor even to describe their innovative blend funny, speaking to experience Trish Keenan of is actually apparent an go opposites experience together that that beautifully echoes – her music. an Ever S precise in what she says, serious and very

perfect future 38

Wears the Trousers magazine Broadcast it we British are actually holding onto? holding actually are British we it is what But know. I don’t it, about being romantic and I’m maybe heated time…or and the all crazy creative really somewhere is or it where Barcelona like not we’re Why other. each of top on little living all a country in up cooped we’re – anyway mad be to supposed We’re more! bit a risk-taking crazy go that and We it. loves should everybody then bravery, spark somebody that If free it! shows for of crazy kind goes everyone somebody’s When really caged. are musicians British think I really. sad so promoter…it’s your then and agent your upset you like it’s and people of lot a employs it sudden a of all because it, That’s it… to stick just will formula who hit on a I a successful of think lot people shame. real a always It’s on. they’re risk that cog the the upset to going take they’re because to scared they’re onto. Whether holding don’t are I bands these things. what how know different at try people gob-smacked little really always but line-ups, I’m of kind anything these from expect brilliant should I that Not Park. The In T watching just was I and that, things like and festivals TV, the on are shows music whatever watch to always I scared It’s risks. take music. problem British of the lot that’s a with think I creativity. in lacking so It’s it? isn’t bad very that’s Yeah, remixes. crappy now just or B-side the on whereas nothing have to B-sides, seem singles the for single buy the to wanted always I kid, a was I When fun. of bit a have can really you so B-sides the on not is spotlight The looking. nobody’s – off pressure’s the A-sides! because anything do can you own our [laughs] than better They’re that is A-sides. people’s us most than better with are B-sides your consensus general The work. would that order running a on worked we So all. at sense make didn’t that but released, were they as chronologically, all it doing of thought We album. whole a that as them For compile to us for it’s perfect worked. reason they’ve time, long a for writing and time long a for recording after form a on been we’ve experimented because and more, we’ve bit because EPs, with our success had we’ve why that’s think I interesting. more always it’s and elements random more few a in throw you then And do?” we can else what bridge, chorus verse bridge chorus verse with up fed “I’m think By songs. brilliant the time that’s all over,twelve you craft to have you like feel don’t you But a B-side is that moment when when moment that is B-side a But To me, that’s what it means. The future future The means. it what that’s me, To creative. being people young in was future the that said it To me idea. an into you further take they and together go when words know two you – spotted we that words two was It cut-up. a It’s self-generated. It’s from? come title of the significance the about wondering was I song about…?” I hate that – you can smell smell can you – that hate I about…?” song this writing to going I am “what thinking, then than interesting itself more way it’s think chooses I and matter subject it. about The random quite be to I wanted just emotions. my about or world the about anything say to I have like feel – I I don’t feel how That’s more. any anything very mean to have got don’t I that. I over I’m – that of bored meaning. this poignant having songs weighty – something mean to trying with up fed got really I to sense. trying make suspend to wanted I a pen. the of for out rush do all it let would would I I hours. of all couple be morning would the that in and thing first up I get writing. would automatic morning generated early were from lines the the but of all song, and a ideas into course crafting its small shape some to was There writing. Yeah, creating when Buttons Tender writing automatic lot a with experimented you as that know cut-ups I well. write you that interesting It’s words two that. like putting together just that, title. love lovely I a And such just was It real too. the in world together And go do things songs. two the of kind rhymes…classroom Song Dead Go The Laughter & Youth songs. Where like then, the and element and nature electronic modern, the recordings up the sum to of And seemed worked. really really it really it much I thought so I why – together That’s words child. two the those in liked is art any of stuff up as I go along, whatever comes comes whatever along, go I as up stuff making just with success of lot a quite had I’ve playing. about all is album next the for focus our I think recently. of improvisation lot a doing been we’ve but that, saying I’m things. two the find and between more balance bit a little a different. craft to be like will I’d album next the think I experiment? album one a it was or on now from write that’s will you think way the you Do way now? songs the write with changed you has experimenting writing that automatic think you Do agenda. an got someone’s when song a in off mile a it edr Buttons Tender The Future Crayon Future The , they’re sort of crafted nursery nursery crafted of sort they’re , . was all automatic automatic all was and and ? Where did it it did Where ? Poem Of A Of Poem [pause] [pause] sticking to very similar sounds – a drum drum a – sounds but similar very quirky to quite sticking – arrangements the approach to music backseat. library a minimal, a took had It music being the them and and songs simple, the about music was With the it on around. time emphasis this more bit a be There’ll quite moment. the at I’m sounds it. vocal into being that and mind, my to these are grid-like songs. grid-like are these Corporeal like songs plug-in. Buttons Software Reactor a which was sound, organ distorted a machine, was a computer album. Especially Especially album. computer a was , , ihe A Grammar A Michael mrc’ Boy America’s , , ody Girls Goodbye edr Buttons Tender , , lc Cat Black Tender Tender … ,

Broadcast 39 , which Summer 2006 Summer Locusts it off. I used to always off.putlike,It’s the one dream writingI always wanted songs and yet when the opportunity came along I procrastinated, and I never why I did understood that. But my dad dying made me look at why I was doing that, and you grow up when you lose somebody close to you.I think my process and my whole attitude has changed – I’m intrigued now by songs more than scared. You’ve recently had some poetry and wondering was prose I Horse. High The in published how your music relates to your what the difference isin poetry, the process, because or poetry always lend doesn’t itself to music. No, it doesn’t at that I allshould write actually.poems because I I writelyrics, thought but actually they’re really different. You can’t always figure poemalthough intoI did do song, that with And I think that’s when you have stopped developing and challenging the process. don’t I wait for moods – I can’t. If you yourselfgive a working habit period – like, a few I months had ago a have whereto write I a wouldsong in half an it wouldhour. haveAnd to be in half a hour, you give yourself strict conditions. The off – pressure’sit’s like, if it’s crap it’s not your fault, because you had to do it in And halfI wrote an a songhour. a day for two months. One of those we’re going to do in the set,live it’s about a girlthe who’s baby’s pregnant growing and in it’s about her that progression, stomach that andnarrative. Years ago, I used to sit down and go, God,“Oh I’ve got to trying writeto write a a song,” song,” and itso or labouredall andseemed “I’m painful. It’s only been the last few years, since my dad died…Iknow don’t whether that has somehowpsychological been release a for me, it’s orjust changed whether the way I think about life and the opportunity that I’ve got. But I feel much more free to do stuff – I don’t put No, there’s no waiting for moods going on. I’veInway,a been there andthink I waiting formoods issymptomatic ofwriter’s block. never quite sure why. I think becausethinkthey’reI why.never surequite meant to be read on the page, they have a melody or a visual element just todoesn’t lend them itself to thatmelody singing. I don’t know why that is, it’s interesting. For me, the crafting and of rewriting written work of is piecesreally different writing.to lyricHow much melody plays a part in conveying a narrative in a lyric…it’s scaryhow powerful melody actually is. You can was a Garcia Lorca poem, and that worked really well, but we cut the vocalsthat upand withmessed about with it a bit justand itkind of worked. I have crafted poemsthat have just not worked in songs and I’m

The Tender Colour Me In at the end – a made you nostalgic . So.we’re sticking tothose ? songs on the tour you have . There’s going to be a lot of . We’re opening the set with two TheLittle Bell you do what L=A=N=G=U=A=G=Epoets Gertrudedid and make Stein yourself write, whatever and mood you’re in. the nice wipe-out track. There’sdrumming a as focus well, on we drumming. always We’re using Mark Sanders, like the good improv drummer I mentioned before. Your music is often music’, and describedI wondered what as sort of ‘moodmood you have to be in to write? Or whether with different arrangements and different ways of generating software those sounds, computerized so it’s looserperformance-based. and more Oh Hammer – Without A we’reMaster doing coming up? I was thinking thatstrange might for you…be No,we won’t be playing anything from Future Crayon improvisation. There’ll be three or four or maybe five new tracks. But there’s also big gaps in the set where we won’t know what will happen until we do I it. think Older there’ll songs, be one Buttons or two off new tracks. We’re also doing and nicelittle classroom folky songs. But again, we were compiling it but look back I like that. don’t For one, like it doesn’t to feel that long ago and I guess it’s not it’syou anymore.almost It happened,like but you don’tfeel connected to it. I miss the people – your mind goes through all that werethe involved. peopleWe’ve had a lot of line- up changes and a engineers. lot You see of all producersthose faces back andcoming at you, that’s quite weird. Inrelation to that, will you be playing the Future Crayon his own right – he puts he’s out busyrecords playingand with all sorts Evan of Parkerpeople all and over Europe.been We’vereally focusing on playingplaying – and alwaysperforming. It’s been arefreshing really change. Do you think making the Thecompilation Future of Crayon for the bigger soundintend or to did expand you always outwardsTender Buttons again after I don’t know. I enjoyed listening to it when that sit on the floor and move around and generatesounds. We’ve also been working with Cities Prepare for Attackguy –who it’sdoes one a lot of droneWe’ve beenguitar improvising stuff. with anyone and everybody. Chris Clark,Warp Records, who’s we’ve also improv been on with doing some him. who’s a Also well-known Mark improv Sanders, drummer in and fuzz pedals, and they’vearray wonderfulofgot colourfula wholelooking boxes it’s all one-off crazy analogue noise boxes. There’s a company called BugBrandtheymake all of these and one-off delay pedals – they’re two men and it’s all pedal work, so far that have really worked. We’ve been workingwith aband called Gas Shepherds Yes, we’re doing a lot different of people, recording different local with bands and musicians. We’ve done a lot of recordings band member with each album.going to Arebe using youmore different musicians on the new album? Until now, you seem to have had one less 40

Wears the Trousers magazine Broadcast of doing it that I’ve been compelled to to compelled been I’ve that it act the doing it’s – of me That’s song”. want a really write “I to thinking, remember particularly, just I musician a as myself seeing remember don’t I song. it cappella a music, an no was was There song. a wrote I – happened It just ambitions. any have didn’t I – it doing myself to found just I wish any famous. be without it did I and thirteen anything was I when to song first my react wrote I I that. like like feel don’t I No, or that incidental? against always it was react to had you like you feel did Britpop; male white a of was there hegemony band, a as started you When them. crafting enjoy I pieces, short writing like I shudder! me makes it of thought The forbid! – god a novel to write in me,”book want I but never a got “I’ve say people Some it. from money earn to want don’t I away. it give I’ll and it write no I’ll – it for have ambitions I you’re guess. and I trapped it for always writing you’re got audience you’ve an once because living,” a for doing love you “don’t do what said, who ever I Stein Gertrude living. was a it think for it do to me on really not pressure’s The doing. like I that something just it’s – anywhere going it in interested really not and I’m going it’s where know don’t I But moment. the story at 6000-word I’m a writing although very pieces, write long to I tend always don’t something. on I’m story working and short like writing really I a as ambitions writer? poetry or bigger prose any have you Do interesting. really It’s meaning. the bring out or meaning the of focus the change sudden a of all and word, one on note the hold Youcan words. to meaning two- giving great for is Melody they’re page. the on lyrics, dimensional the uplifting read really or songs…to songs sad the of really lot time, A melody. of power the That’s tear-jerking. it’s and shapes, mathematical different of really, song list a It’s shapes. is melody the in sings she All Perhacs. Linda – me to gets always it and me for that does that particular in song one There’s tear-jerking. very meaning, it make real can it and give will melody and the words yet of couple inane most the sing Parallelograms by by on female drummers. There is that gender gender that is There drummers. female female on of article your lot liked A singers…I are split. musicians gender a although is women music, there in and successful men been have history Throughout musician. a as life my in my than life in me. everyday agenda for feminist a issue of an more not There’s it’s I’m when songs, am I writing sex what care don’t I do. have been way deeper than arguments arguments than deeper up way washing been over have had we’ve arguments the but – time long a together been have James and Me jobs. women cleaning more do men lot than a and paid well not are jobs cleaning Like paid. get we with much I come how always fine. will problem the absolutely think that’s and car be mechanics to want don’t women fine of lot that’s A and too. drums play to want don’t girls most but – interesting it’s and divide never really been quite right. The ironic ironic The they’ve right. quite but been really things never offered soundtrack. been a do We’ve to wanting really ever without a music for soundtrack about time romance long a had to we’ve think I soundtrack film. the a do to ever than more now ready We’re that. do to love really I’d movie? actual an with involved being ever yourself see you Do Broadcast. on had have music cinematic and film effect is big a me what to interesting very that’s Something up! it to wash going is who over argument the crockery end to smashed we’ve where point Tothe arrangements. musical over had we’ve documentary of the making of that that of making the of documentary accompanying an there’s for – Man’ did ‘Grizzly Thompson Richard as the way In film. same the musicians on take of to going group are a who have to have find you always a soundtrack, I With off. a film – flattens that that on keen not I’m And massively songs. of compilation a just actually was soundtrack Callar’ the ‘Morvern instance, for that Ramsay, like Lynne are actually. soundtracks Warp film. of your lot into A work to that managed like you’ve you that songs of compilation it’s a really but soundtrack, and the as it album an release on put can you of that order songs running a likes who film-maker the for OK It’s film. against really well that work doesn’t it is music our about thing Records. Read Trish’s prose and poetry at at poetry Warp and www.thehighhorse.net. on prose Trish’s now Read out is Records. Crayon Future The wait! can’t We next. that into teeth a our get It’s to going we’re that. so really, got job dream we’ve that chuffed we’re really but what project this know for do don’t to I going he’s that. like things He and at. buildings looking onto images be moving big projects to next going the we’re that’s thing So museum. garden the sculpture outside the to for us music asked some he’s do York. – Aiken New Doug in with Art It’s the at Modern of unusual, Museum quite thing is good which really actually, a offered been We’ve project? right the for ing didn’t like. It’s a really really he a It’s bits like. didn’t which told them and playing they were as them directed and musicians in the with sat actually but Herzog way, that hap- in it pened realise studio. didn’t I the in Herzog Werner with soundtrack So you’re really just wait- just really you’re So now. music play we way the with film a really animate could we think changed. I has music to approach our and lot more a we’ve improvising been since now, really that especially do we’re to ready amazing. think I really was end the at out came that were soundtrack The egos. no there was and he saying what to was open everyone and ary document- interesting n

Lou Rhodes 41

[the Summer 2006 Summer n Beloved One by Steven Stills. The ) was written, recorded Fortress with a big crowd of people; a very done in five weeks altogether theand songsone ( of and mixed right at the end of processthe mixingin two days. Doyou keep an eye on the UK music scene? Who’s caught your attention recently andwhat are you listening to? I don’t keep an eye on the music scenealland spend much ofmyattime insilence or listening to older music. Recently Devendrathough Banhart and Sufjan Stevens have renewed my faith in contemporary music. How does it feel to be a ‘Mercury girl’? Ho ho. I don’t feel like a Mercury girl! The nomination meant a than anything, lot after making though. the album I’d Morebeen longing to make, it was such a bonus to have it recognised in that way. Given the chequered fortunes the Mercury has bestowed upon some of its winners,the isprize a profile raiser poisonedor some chalice? kind of I said before, they come when they come.I wouldn’t say, though, that it wasprocess. a long The recording and mixing was Finally, you’re on Desert Island Discs; one song, one instrument – what are they? Jesus!One song? thinkI itwould have tobe My Lady Of The Island instrument?My Fylde guitar made from 70 year old recycled whiskey casks. The Nationwide Mercury Musicannounced on Prize September 5th. is Has your connection to the prizeyour affected ability to “…strip my life away”“...live eachand day by day”? little.A I’mlooking forward tolittlea more tranquility when the ‘big night’ is over! You’re playing live does in the September. intimate transfer How feel to the of stage crowd – something is you enjoy? playing to I the enjoy it very much. far, Thehave audiences,been amazinglyso attentive.joy to It’s sharea the silencesongs] in between special connection. What’snext after so personal a debut? Are therespecific topics you’re keen to explore, or is life, and the living enoughof forit, you? inspiration I have no other topics than life,the livinglove ofand it all. I think that’s ofa lifetime inspiration and bottom I’ll of it. never get to the It’s what you make of it I guess. has the feel of a personal I wrote with Lamb. That’s justwrite. the Asway I for their songs gestation were period;written thein bursts I guess. As feeling at the time. I can’t reallythe musicseparate from the message; they’reof the partsame thing. You’ve not breakdowns been in your musical and afraid personal relationships to document and catharsis there’s throughout the album; asongs did have the sense a long gestationhow’s the of world looking period, now they’re and in the public domain? Yes, there’s a definite in sense these of songs, catharsis and I guess in the songs Beloved One manifesto. Do you see it that musicway more -important is than thethe message or are you aiming for a combination of both? I don’t really reflect aiming much on for what I’m suggests and a very the head-basedpoint word and didactic of ‘manifesto’ view. heart. I write They happen songs and are when fromusually triggered they the by emotions happen I’m caught up with ne of this year’s albums, most and beguilingcertainly one of the most delicate debuts in recent Paul Paul Woodgate my heart creatively and involvemy favourite peoplesome in ofthe process. was the experience overall? It flowed veryprocess of naturally.having the freedom An to amazingfollow The album is beautifully at Ridge produced. Farm and the Life collaboration with EmreRamazanoglu clearly suit you – how need to tag on the Lambtime toreference time. from How How does it feel for you to be ‘Lou and not ‘Lou Rhodes, Rhodes’ formerly of Lamb’? Wonderful, though people still feel the the notoriously private artist over email to seehowcoping she’s with the anticipation of being thrust into the limelight. against eleven of her most illustrious peers for the 2006 Nationwide Prize. Mercury Music O memory,Rhodes’BelovedallLou bewillOne butinescapable this month as she competes not giving up the ghost

42 Wears the Trousers magazine Thea Gilmore 43 Summer 2006 Summer things going wrong when like I the touch gigs them, that I play…verythe soon venue after, goes never bankrupt. comes These as things a bring shock,them bad luck. I There guess have least been Ithree gigsat justthat I can think of. One ofthem went into receivership two days after I played there – and it wasn’t my fault, the I’ve spent nigh on ten years doing it on my own so I don’t need a record company. It’s useful sometimes and certainly usefulto get a record into the shops,are and certainthere things record that company for. youBut I hope do that don’t forthey needtheir sake because a they’re a good company and they’re the independent world’s biggest record label and not who could like that? I’m working sure for there them are who aren’t people doing any favours,them but that’s business. You gotta get used to it. I’m kinda getting used to while, but that’s more becausetouring I’vethe Statesbeen so much and changinglabels and stuff like that. Just writing non- stop, but morale wisemusic industry I got foundon top of me. that Usually,I thecan laugh off the shit for that the goes laston but three yearssuccumbing I’veto the been kind slowlyof drudgerydepression and and how thing hideous is. the There’s whole a doesn’t big want part to be of aother me part part of thatme ofknows that it, if you butwanna make themusic, you gotta be in the pills!it – so take There’s been more upheaval,new too, record with deal a with Sanctuary, which major should have much indie better label distribution and given the label’s marketing.well documented financial Although, troubles of late, are you anxious at all? It’s nothing to do with me! It doesn’t worry meatall. The reason it doesn’t worry me at all – I mean it would be a pain in the ifarse your record companybefore your album went came out bankrupt – is because because I haven’t released an album for a is another! is one thing, ? Burning Dorothy The Lipstick Conspiracies ever before, which I know is strange that shit. I just realiseda lot thatof thereissues werefrom nastymy darkpast stuff turning that I up hadn’twith. really I’m notdealt one who talks aboutvery thingseasily, but I’m Medicationkinda gettingis a there.fine, fineon! Itthing. certainly Bring rescued it me – that anddoctor. my And music, obviously. How have motivation these and morale? things It didn’t affected affect my motivation yourin any It way. affected me because I wrote more than You’vehad tougha time ofitlately from the soundsof things; family illness, a bout with depression and all sorts of head mess... It’s a bit boringdon’t to want talk to about get hell” really. into because I “my depression everyone goes through because I sung and in I ancan’t understand American whythat’s accent I onedid of it.those Butthings that mewill for the haunt rest of my days. I do really likethe songs on it and I like theof it.production I like the sound of thefrom record myapart voice – American little accent girl”. It’s “Minnie not good. Mouse to make. With everyit’s become recordcloser to the I’ve finished product made, that I actually wanted, which I symptomguess is of a moving on and growing and up a little progressing bit. Yeah, about that. How do you youlisten feel back whento your earlyBurning records Dorothy like Mildlyscared! There’s somuch teen angst there. And but I actually want to hit my 18-year-old self It’s been an we unusually last long heard from time anyway. you, since Almost well, three relatively years!certainly worth But the wait. itCongratulations was on the excellent new album, howfeeling are about youit? I love it! It’s certainly the record I wanted

was the was told to Wears The Trousers Alan Pedder ritics must love it whenever TheaGilmore unleashes a new upon album the world; it’s one of those

Luckily, As we ensconced ourselves in the When

flatly emphatic, “yes,Thea the Gilmore, bitch youis see, back”. hasto uphold.a reputation Let’s get to it. few weeks later, surveys anfull antechamber of announces promoters her arrival and on pluggers stage with and a vast discography, formidable is perhaps statement hersaying something most yet.for a woman who, just Anda that’s fine fettle. addition Harpo’stoher spotless andfor– someone Ghost, who’s only the 26 latest years old – impressively no doubt failing in the process. very first stop on andthe Thea’s promofierce locomotiveintellect was in mighty albums and similar sessionsloads ofwith interviewers, truck- some of whomhave must tried their luck at tripping her up, from hard-won experience after seven at you in personfringe; throughsometimes guarded a and swept steely,slight her over aloofness understandably comes – we broke the ice overof autter mutual displacement. feeling As photos,in manyThea’s cool, of intelligent her gaze comes rather opulent surroundings poster– a ofglittery Che Guevara notwithstanding turned out to be a private inLondon’s members’trendy Covent clubGarden instead, andas it happened, Thea was firmly in the pink of health (and the blue of expletive). meet her at The Hospital he one lunchtime, nearly brought of her grapes flowers, and a a hacksaw. bunch Fortunately, it a door these days without her head getting wedged in the frame. will get them up there Indeed,on the billboards. with so miracle manythat Thea accolades,can even walk it’sthrough a C specialoccasions whentheyrummagegetto deep down into their secret superlativesblack book of for that just-so phrase that up the ghost not giving 44

Wears the Trousers magazine Thea Gilmore and broaden your scope. No musician musician No scope. your out broaden open to and people, to out to music order in the get use to need you actually that can and use you that corporation elements the the of allow To thing. think, I main the of is truthful, control being and in do you remain what to got you’ve But talk? to I am who so life, entire my in been ever I’ve label biggest the on I’m now But extent. certain in a to it kick use to to have you and machine corporate that need you sometimes – not possible I’m entirely it’s Tosure minded? charts. independently the truly be dominates totally it and a is there out music there listening but easy of lot whole attached, all images with of comes sorts listening’ ‘easy term The ears. the on easy and consumable that easily is music of type a make who to music people make over exerted so pressure and much control much so is There what mean. that’s I guess I but cliché, a be would down’ ‘dumbing term the use much…to so is there because inde- artists minded truly question pendently many would that I are there but whether is, it think I Yes, out? started first you when than artist minded independently an be to time a better now’s think you Do years. ten changed last the has in music consume we which in way the quickly how incredible It’s so. done indirectly or directly either have songs your and of a number a industry pop at the music taking to stranger no certainly you’re Well, tail. own it’s its eat to going otherwise just must, it change; fucking to needs it and people young to sold is music hate way I the stand now. cannot I it industry. music the about polite being of sick fucking really I’m and dire just it’s – sugar you of full it’s fat, of keep It’s full shit! it’s but regular, to ‘roughage’ musical consider very it’s would you what – you sell to that trying cynically doing is industry the music that feel I Well, food? healthy getting you’re that feel you make and try to bid a in salads selling started have McDonalds how You know McDonalds. like more and more becoming It’s depressing. entirely whole as a industry the find I great! me is on which up now, given they’ve think I but Yeah, have labels... must record major the by you hounded being of sick signings, gotten of Speaking me! sign don’t and me book don’t is story that of moral The institutions. commercial on effect this have to seem I bankruptcy. to close went one another think I and – chef the with do to something fault, my wasn’t definitely that – down burnt them of One do. could I nothing was there shit much so in were they think I but – out! sold was gig it approach to building a career, what do do what career, a building to approach it slowly-does- the taken has who someone As needs dictionary. the in possibly redefining and word independence tricky think very a I is but different, I’m and no can possibly they as audience an broad as ten reach to to wants play Everyone and people. stage on stand to wants hate something, but if you get the perfect perfect the get you if but something, hate or love either who people be gonna always are There radio. the on get to good too it’s then 5 a it’s if and radio, the on get to bad mark too it’s They then 1, a it’s if – record. five of out 3’ records ‘perfect a about talk having they you’re radio the on if get to America, trying In something. worth it’s then I great, then If passion, a with anything. it hate than is pants offensive my more wet often me make or doesn’t me that music offend find I but me, offend doesn’t She female through. breaking issue-based songwriters weighty more see to like I’d – me. for enough musician weighty not it’s but incredible an she’s think I music – her for respect have I and talented not it’s obviously she’s but Again, music. heavyweight possibly, exception, one would Tunstall be KT suppose I successful. you’re that rare very it’s then on, it hang to gimmick a or face pretty a think got haven’t I you and If always. country marginalised, readily are women this in exists that sexism extreme of bastion last the It’s almost industry. masculinised entirely an it’s not, or it Like know. you doubt, a Without thereafter? be ignored achieve then and tag, success month” moderate-to-massive the of “flavour the from suffer to counterparts male liable their than more are women that think you Do salad. McDonalds a of example prime absolute an she’s but talent she’s has girl the no doubt There’s But a product. just hair! her in flowers with punk rocker a was she wish I Well Thom? Sandi Thom? Sandi of make you the way it’s always been, and you can bleat bleat can you and been, always that’s it’s way the and weight need you and pop need You it? isn’t serves, it which in industry the of product a is radio music Unfortunately, that! into I’m fantastic, That’s piece trees! a about to listen can you that I fact 4. the Radio like like my really also of I and one favourites is 6Music BBC Occasionally. much? radio the to listen you Do I with. 1s! and live 5s want I we 3s. want don’t that industry That’s music station. the radio your off turn aren’t gonna people Therefore, anybody. offend gonna not you’re – then road the of total – middle middle the in right it aim you if 3, [laughs] will spend £300,000 on a music video to to video music a on who £300,000 shit spend some will There’s so. guess I Yeah, too? boil blood your make that Does dignity. of lack a cases, of lot a in and, no – substance all novelty, newt of a juggling value the artistic that have on videos wasted monster, eh? the for So corporate much is money eye the in one and accomplishment an for promo [the programme the on shown ever video lowest-budget the in having down for gone history you’ve Pops, The demise Of Top the of With TV? music about What back. it take wanna I and world my is This industry! fucking my into gotten claws its have to seems is what me, to unfortunately that, lying and in intentions shame your is about there But for. there music is pop what That’s that! in shame there’s no song; pop a in shag to wanted and club a the down met you boy some telling about truth in shame no There’s honesty. about is me, for Music, lie. a That’s music. artistic leftfield, as posing that’s problem pop is with a have do I what but of lot music, a pop like actually really stuff I and and that, like artists manufactured about on Laverne, who I love – she’s just a goddess. goddess. a just she’s – love I who Laverne, with one new a there’s Although Holland. Jools Later…with be probably is TV on music of representation true only the think I out now. ironed been all it’s but – show the on appeared Nirvana being and Cobain classic Kurt the when – what happen knowing to going quite was never bit and little a spice and of variety of least bit at a but was up that, there grew like I shit and hell, Bros Fucking with now. chart dull singles so the is because more though, lifespan its I outlived since I long has kid. it a think to because as Sixties the time in touchstone immersed the so was at only culture my popular was it Yeah, twelve? of note of every memorised hadn’t who school a friends your to as relate watched could you so you just kid shows one it’s TV that only the read of I grave? to go televisual Pops its The Of Top see to sad you Are And career! my truthful. for being strapline that’s the as guess I kinda have say. I and possible as possible fun much as little good. not as its Spend that, watch who to want anybody that’s would question mine, would I not sure! for Certainly don’t. I ‘cos minutes, half a and three for woman’s gyrating a arse watch to wants tedious Who insanely anyway. videos music find I dull, and just It’s salary. take-home his justify Subterranean Homesick Blues Homesick Subterranean Mainstream fre Knci frontwoman] Kenickie [former cost just £38!]. That’s quite quite That’s £38!]. just cost by the age age the by Lauren Lauren “Sandi Thom? She’s an absolute prime example of a McDonald’s salad.”

Summer 2006 45 46

Wears the Trousers magazine Thea Gilmore to rebuild them at all that is – and some some and – is that all at them rebuild to want you if – them rebuild to takes time It long a down. because broken it have do walls to certain I able years, been few haven’t last the just over head life my my in in and happening been that’s the all stuff With to. it’s close make, get to I easy that very not music the people like while possibly And me. from hee’ in hee looking tee ‘outside of kind a has been there and always long bubble little a this in myself For locked keep to able done. been kinda I’ve easily time, very it’s Yes, songs? it-all oh-I’ve-seen- many in too were writing you of think danger ever you more Did bit a and bruised. steely recent less on bit a than – albums vulnerable more topic, little on a on back songs the of getting some Anyway, it! Do MySpace onto something? it or sneak can I if copy. a wonder find I to have I’ll somewhere. up it put and internet the I’m was on up it day, sneak One It gonna though. else. cover great a somewhere such one… stand this I on a so run make idea, better good shit, a thought, not was Mattel lawsuit a with into getting y’know, But, take out. me it made they that off hacked was I really and well as what, you fantastic was tell cover I that And crazy. was it Yeah, his on DC likeness with Superman’s of use the over incident Comics similar a had Stevens Barbie Mattel of the on lampooning whole your the over debacle was ridiculous How a that. like operate works could that two business of child a have – to brain have a even don’t You possible. as profile high as you rack gonna ten, they’re ‘cos top the in then get HMV gonna you’re and course of Virgin to copies single 200,000 your away of give to money away, the them got you’ve If away! give them give actually they they – racket fucking total or a just is game HMV a singles as The in single download. your have single to do you your as Virgin get to spend marketing the of much so need don’t you and through, break to spirits more way, for independent easier positive much a so it’s in because will just they think yet, I chart but singles the affected downloads really that have think don’t I passing. its mourn to going not I’m TOTP, but at indie and charts, charts alright, album with was dealt it Show least Chart The great a laugh. have we’d impression the get I day, just one her meet to love I’d incredible. just she’s one, no to second a brain has She Illinois Mainstream album. It’s madness! It’s album. single artwork? Sufjan Sufjan artwork? single Harpo’s Ghost Ghost Harpo’s seem seem may think, “she’s far more trouble than than go”. trouble her let we’ll more worth, she’s far “she’s think, They see. may we’ll album, this after me they’ll want whether know don’t I Um, signed. they who know they and people stupid not they’re – me of that imagine expect would they would that I hell and me, them let give don’t they I’ll if answer that be truthful would don’t that equally ‘I to is the that but to know’, answer truthful The with every album. I think it’s safe to to safe it’s think I album. every with sure-footed more somehow even sound to you’re managing albums, musically your and all swagger, with Ghost as Harpo’s course, Of now!! it about think I’ll [laughs] turning be Alanis? into might you worry ever you Did about!” piss change a don’t and for mean you what say point minute, a actually a on “hang was thought, there just I but where it, and doing write, I enjoy that I words the with educate people can I as much as people can confuse I that find I write. you that behind words a hide the to is because trick words, songwriter to less classic effort few a use conscious was a do make did only I The thing music. the in out comes it that natural only seems it guess I but be way, to this it intend didn’t I distance. a people such keep at I that fact the to anyway down were faced first I that problems the of so chose to? chose you so if year every records releasing to go back to affect able be you deal Would the prolificacy? will your but control, complete artistic guaranteed weren’t you if deal the signed have wouldn’t you that assume That’s never crossed my mind but but mind my crossed never That’s still has a healthy dose of of dose healthy a has still the covers album album did I covers the When it. to own your of bring something to have you for that is remit covers My choosing necessarily. conscious, it’s think don’t I actually. question good a It’s is? that think you do why by women… songs more covered why haven’t you way wondered often genius I’ve But cover. and a with skills of interpretive so!) rightly your (and made been has Much like was I incredible!” is woman was. this “Jesus, she young fucking realised I how before record the bought I was and it who asked and went I so it enjoyed really good”…I really is “this thought I and piano the at raunchy kinda old getting woman year 45 some automatically was there I that assumed reason, some For voice. this heard I when browsing, just Austin, in store record amazing this into I walked and 2004 in festival Southwest by South the was at I what, you tell I unbelievable! That’s chosen. had they 16 the of instead songs 23 with album second her release to refused supposedly they when Sony with way big a in out Nellie fell She to McKay. happened what allegedly That’s new artist, it’s very difficult to be overtly overtly a be to are difficult you very if it’s artist, especially new – loudly it do difficult to very it’s because be quietly, may it They doing there. out people are there didn’t he because doorstep own his than shame further look a it’s think I it. with run and ball particular that up someone on take to for younger waiting take was he his that fact the in was disappointed I but it, extremely done he’s that it’s thing think good I a yet. it heard haven’t actually I Neil of and make you Young’s do what interests fans, your projects on surprise political springing for propensity your Given giggle! me make would cover to wanted they decided McFly like someone if chuffed very be would I song. your cover to someone for flattery of think form I sincere a it. it’s singing voice girly wispy a like don’t they funny; really it’s absolutely track, that fans hate Buzzcocks of lot A track. Buzzcocks the with like liked, it’s new entirely not sometimes a course, Of “that’s feel. a it” on of take more gender, almost different a there’s With voice. female a expecting they’re it to listen people when gender, because interpretation your less almost is of there someone by covering I you’re do? something if I can sometimes what that, so think songs, versions her of definitive all the of done She’d it. to new anything bring could I that feel didn’t I but song, MacColl Kirsty a to close really Living With War With Living Mainstream [2003’s Loft Music] Loft [2003’s i wud e ra! It great! be would it , ? , I was was I , Thea Gilmore 47 Summer 2006 Summer [laughs] were to be a huge n Harpo’s Ghost And didn’t she say she wanted to putin aher dustbin and set fire to her broughtrecords? that I up once and Kath said, “oohdon’t mention that!”...I think she bumped into Katie Melua once and thinkhad toshe run.may lookI like a she’slittle quite tough.dolly I butcan take ‘er! And Sandi? Both! At the same time! make a song. It was in greatthe studio,watching andher shepregnant was at thefour time! months Yeah? I saw ‘Daughters her Of play Barbican Albion’ at and she this was show months gone eight by year’s that point! and at a halfYeah, I The kept getting texts from her “ooh going,I’m really ripe now!” Unbelievably, an interviewerto Kathryn once that said she Melua”, was despite the having “new been Katie aroundindependently releasing and records waybefore she was ever a twinkle in Mike Batt’sImagine if eye. commercial hit and an ill-informed journo were to remark that Sandi Thom” you – how would you were react? the “newI would probably do exactlywould the be same. fucking I furious!lazy, lazy It’s journalism. just lazy, extremelyHer responsegood andwas that firstwas one of thingsthe thatKathryn...when made she mentioned me wombles. really like SoImet Kathryn and Eliza Carthy and we werelike three witches cackling together, like the youngest of the troupe, and it was great fun. Kath has got a wickedhumour sense– she of is just such a cool person. I really wanted to get another female voiceonthe record, because you can become so male-centred – most and session musicians everyone the from producers the you – work engineersand Kath with seemed are to perfect. maleat exactlyShe offered the rightbrought timeto the and record what isThe shejustsongs incredible.she’s on came alivesung on them.when They she were okay tracks just sounding like me, thenand put she these came amazing along vocals and on thethem… way her brain worksharmony in terms isof really incredibly female. female take She’s on melody got andnot it’s anobvious, whereas I willup withalways the obvious. come I will always stickrigid toharmony and stuff like that. Kathryn will always dance around the melody she’lland find these intricate details that just first time when this westrange gig were called asked Albion’,the which‘Daughters to is anof do interesting concept. [Anna [Anna McGarrigle] and her aunt together? She’s brilliant, isn’t she? Superb! We haven’tthat long beento be fair. friends I met forKath for the the the ‘f’ word – but it is in its essence. not It’s about beards and pullovers, music that is it’s totally about the musician and the people. I’d love to see whether she can sing on one of my records. I have asked her and she said quite peoplethose who’s of one yes,she’s but see We’ll spirit.free a She’s down. pin to hard it. still up for happens – I hopewhat she’s Stop me if I’m namedroppingbut a real too added much,bonus of the fornew me isalbum that you’ve got Kathryn Williams on a few tracks. What inspired you to work lyrical songs I’ve ever written! Interesting! I heard firm you’ve also friends become withrecently – how did that Martha come about? Wainwright Yes, Martha, bless her! Watching She’s Martha incredible. and [McGarrigle] her mum work together, they’re just so Kate funny, they’re like a fucking comedy y’know, show, but the music they make is just exquisite…it’s just like breathing to them and Martha’s grown up with it. real It’s folk music – if I dare use just want to be involved with with a company that name. But amountrespectof yes,Neilwork hisandandfor I have a he’s hugebeen a constant source of inspiration, help, interest and just friendshipThis foris just me. my way of him.tipping It wasmy just hat so difficultto writing a aboutsongone ofthe characters from hisbooks. basedIsong Shadowonmy from ‘American whichGods’, again was kinda hard because the guy lives up to his name easyand he’s to not pin down, so the song that. lives It’s up probablyto one of the least linear sometimesnotgoingbut I’m wallow to it.in The last thing I want to do is make someone too depressed to put the record on again. I want people to feel hope as well as despair. That’s what life is all about. Ialso wanted to talk about your friendship with author Neil Gaiman – he’s really into your music, isn’t he? And I hear youa trackhave on a new Gaiman tribute album… can you tell me more about that? I just got asked by the company putting it together…Dancing Ferret, great name! You that’s that’s where the therapy comes from when out,way a show alwaystryto I write.Butyou because there is always hope. important It’s nothingwallow nottomorethere’s boring – than listening to someone fucking wallow all the time. It’s like “get over it, you an amazing have I havelife”. an amazing life, I’m lucky. I’m a lucky person to be able what toI love, do and goddamn it, I feel like shit …there’s Harpo’s Ghost s hidden track asserts. Are propensity to shift towards the dark aspect of your psyche, because a lot of the time that after what is something to lighten quite the mood? a dark I think album,as a songwriter you always have the Thankfully, there’s salvation in music, Harpo’s as Ghost’ you throwing your audience a bone with living in dangerous, dangerous times we needand to do something about it. ways…and I’m not saying it would change overnight, but nobody sees if they the do need,see the need, or they don’t seeworth, the because we are so blinkered. We’re the matter is that people have more power nowthan ever before and we have aduty to use it. allWe could change things, in small arsesand just watching these things unfold in front of us, that nobody really wants todoanything about itanymore. Thetruth of thescary thing, that we’ve developed into a worldthat isso sodden with media and TV, so totally overtaken with sitting on our fat presidents need to be impeached (as Young Neilonce said) and all of that happens,and it goes on all the time, but what needs tochange ispeople’s apathy about it. That’s The world changes, shit happens,war…horrible,to go horrible people things happen all the time. Governments are crooked, you most nervous right now? I think what’s making me most nervous is pretty much the same as its always been. references to the Hurricane ever-advancing doom Katrinaamong others. of What in the world is capitalism,making and on a wide both range home of topics, and disappointed with away. concerning They won’t be As you’ve said before, you feel that haveartists a duty to be political, and haveyour comefans to expect to hear your opinions he’s a bigahero.he’s I’vealways hadhuge respect for him so I will listen to the album…I just have to get over my fury first! to itch – and I remember reading that and thinking right…okaaay. And it’s not often that I get angry with Neil Young because doesn’t work like it used to. I think it was a realshamealwaysthatsaid Ihethat –know when I get angry because my head starts these days. To say that there are no young bands trying to be political is a bit narrow- minded. Go out and find them, don’t expectjust them to land on your doorstep. It they’re not my favourite band but they’vetried to be political and got smacked down forit, and they’re almost as big as it can get – whereas he has the benefit of being Neil fucking Young, y’know. Everyone’s gonna listen to him! I mean look at Coldplay; political and be on a huge stage with it 48

Wears the Trousers magazine Nerina Pallot a mngd o ul href n ever- an herself girl build funny to self-effacing managed this has how see hard not to advertising It’s TV interviews. play, entertaining and radio of huge amounts with conjunction in time first ten the top for the into catapulted her saw single the of reissue hit. big a score to track backing a to mime and outfit skimpy a don to have barely who people of kind the for talents, lesser reserved usually trajectory of kind the Floor 14th re-release of tweaked slightly a subsidiary and Records with Bros. contract new Warner her 2005, December to album, second Fires contacts her record industry independently and favours friends in pulled from be she to nightmare, out total turned a that contract dream a I Fires Nerina’s victorious and vindicating vindicating and victorious Nerina’s at the turn of the millennium after after millennium the of Polydor turn by the at Dropped Pallot. Nerina star rising for slog hard long, a been t’s . Since we last spoke to Nerina in in Nerina to spoke last we Since . have seen her fortunes take on on take fortunes her seen have vrbd’ Gn T War To Gone Everybody’s our good-natured nosiness by sending us us sending by nosiness good-natured our of relaunch the to prior just topic very this about night one Raggatt Trevor years. wilderness the the through up even keep interest, to internet the the of this use in her allies over was biggest her of admirers one and of years, army expanding a primary source of information, but it it but information, of source primary a future. distant too not the in and media of – form a superior important become well may as just is it say would I Monkeys, Arctic the of success web- propelled the from judging after but radio, artist, and TV any for third tool the important possibly most it’s say to going Hmmm, was I artists? established and coming up-and- for internet the is important How course! of technology modern of the wonders by Atlantic, the over wings somewhere with flying tin a from of technology wonders modern the on discourse following the Having my own website is great as as great is website own my Having Fires got chatting to Nerina Nerina to chatting got and she kindly obliged obliged kindly she and

good word of mouth about it and people people and it about mouth of word good physical formats. physical the bought and went still but radio the off songs taped people time a upon radio, once and new the is It internet The records. of hurt. their can’t buy percentage a probably will and those are know band now the people That who million downloads!! three million means three – ever Ways for video their – stimulate Go OK the band US at Look artist. or only band a of awareness They FREE DOWNLOADS. OF AFRAID BE promotion. NOT of DO and kind Oh, any with as market, where place a heard. be can still is individuals it ads, banner in smothered is net the an while etc.; on on MySpace profiles too So rubbish compelling board. message more artist’s posting far someone and be than likes will Their person. dislikes a real fake mouth a to or of hard it’s blog, word because real happen, will where be blogs think might I boards stuff. hyping message start fan then and music once on post twice who or people savvy more although marketing lot a about real becoming think, is from I everyone spam separate recommendations, to difficult news. latest about to them me inform for and and show, a where playing out am I find when to people for easier much so also It’s other. these each so fuel all etc., things sites other on it about post Amazon?! I think think I Amazon?! and iTunes on up jump album the hour an hear within see can could I and 2 Radio people on song my that it is already! amazing iTunes, How on week billionth this the at download we’re immediate. this so typing I’m it’s As because stimulated sales really record have iTunes download like Legal both. sites help to has would it I say MySpace… and site main the on people from get I sales, feedback the than Other record know. really more can’t I attendances, i.e. gig better vibe, general a beyond benefits concrete of terms in reaps like things and etc. AOL webzines on reviewed favourably the be to fortunate had been have I but advertising, never online of kind have any for budget I non- outlay. a for net existent the on presence who a anybody desires or artists, godsend independent absolute for Enter an is site. which interactive MySpace, more message a a or like board features the of expensive lot a more afford couldn’t I label. a major on wasn’t I when funded minimally was Just how much all this effort really really effort this all much how Just I think the trick is to know your your know to is trick the think I more become to going it’s course, Of is the most downloaded free video video free downloaded most the is Fires has also has some some has also has A Million Million A Nerina Pallot 49 . n would Summer 2006 Summer Fires [paging WTT had the sudden loss a at very young age of earlyan group the member, lossones has been of on shared the loved graduations, board members suddenly too... being allowed to practise medicine on unsuspecting members of the public who might notevenhugebe Mariah Carey fans writer Michael All Banna!] this points to a Group have gotten know to each otherand too become over the years. I’ve seen friends members’ kids grow up over the last few (OK, years in photos!), we Yes, Goth people, I love you all very I thinkI it’sbecause I’ve been marginala It would be no exaggeration to say ought to like because a majority does, and when being ‘different’ is being now the same as much everyone like else. much, but why are you bothering??! And with that, an airliner pinkmelts into horizon the and disappearsNerina’s new from single view.Sophia is the UKreleased on October 2nd.in community. Is that unusual? artist,andthatcreates realabond between people – likingnobody else something knows about.about practically Lewis Taylor I’m – I could never like dislike that anyone who likes histhey recognise music, that becauseit’s special, if mustthen they be top people. like It takesanything couragejust because to a you worldlike whereit, we’rein being told what we up – although for the time being it servesas my main messagehorrible to use and board. other fans have While set upfar, far it’s superior boards, for someeveryone reason, stays put! Ina terms comparison of with making MySpace,serve very theydifferent purposes both for me,guess so I can’tI really compare them. that, were it not for theonthe Yahoo! Group lovelyhoping Iwould messagesmake another record when that I would myself never thought be a happen,bunch of demos Untilon recently,my hardI coulddrive. honestly metsay nearlyI had everyone in the Group, I which guess was because more weinterestingly, were a tiny!lot of But,people in the Groups page was a realBut that encouragement.page wasn’t my creation – it wasa number of my very early fans that set it [an [Anderson, MySpace . Plus, it’s on the wane. Maybe it’s is actually a very friendly and nice Of course, MySpace is a fairly recent Also, when will folks learn that It’s a remarkable invention, but don’t development. All throughYahoo! my years supportonlevelgottheof I the unsigned for the time being it is, but thethere introduction may ofbe some paying premium services in the near love future. the I place, absolutely creator] Tom chap, good to luck to stayshim, but completely unless it free, and peoplego to a willnew site leavewhich the willsame, evenbe better,much and totally free. wallpapers that interest obscure are just a complete everythingwaste of time? HTML is not of everything, people! which our little friend Mr exploitMurdoch will religiously. Oncewhen upon you clicked a free?’ time, onquestion on the the FAQs ‘Ispage, ‘ABSOLUTELY’. Nowit MySpacesaidit informs you that Everybody now knows that the‘band ofMySpace the week’ is not on the front page because they’re good, havea big butlabel that can afford becausethe $50,000 they for that ad. be fooled – we all have a great time usingit to post cats, music, blogs silly about pictures how George much Dubya of of is an – our while idiot whatfact we creatingare in is one sophisticated of the world’s and most extensive databases out 20,000 friend requests and hoping for a deal. Tila Tequila is testament to that unsigned American urban/rap currentlyamong artist themost ‘popular’ independent who is act on MySpace in terms‘friends’] of page views already and over – a lot of the people who have been using it for a longbecause time of are the leavingnew Murdoch ownership.

Fires However, it doesn’t mean anything to Of course, it’s really time consuming, Right now, I would say MySpace is With the new deal and everything, is on it in 2006 so if recordyou’redeal, there isn’tanypointlooking sendingin for a must feel the same. have 30,000 friends really, and everybody connection with fans, I becausehave to I know dunno, a realthings person I makes like the and I figure other people emotional about the music I love andartists the who make it, that I someonewill alwayswho be needs to make a personal would be amazed by the positive uptake. and it has to come from me and mebut only, I love that level of interaction. I am so something,but also expressing that, being on a near zero budget for marketingadvertising, and it was my only option. You wrote to each person individually and was really honest about feeling uncomfortable about essentially trying to flog them I had a record release. due for Because more I time hada year ago, I directlyinformingpeople who I thought might like my music profile from information their that originally came an out independent as release, I used it as a means of to such a vast and varied demographic. few In months before the has ever consolidated all those things and offered what MySpace does, and ofcourse have had a blog on one site, photosanother etc., on but no site contact, the way of condensingone infopage, into and the sheer volumepassingof traffic/ captive audience. I could MORE important than my own website in some ways. Because of the immediacy of satisfied that it is a methodfind thatinteresting I would and charming enoughinvestigate to myself, I won’t do it. independent artist. I may think upway a new of nicelyabout upcoming releases, informing but unless I am ‘non-friends’ person ‘discovering’ me onthen the telling site and all far their more mates productive about thanpeople it now my that is botheringI am no longer a strictly page is happening at a really healthyright ratenow and I am content fortick things alongto nicely. I also think that one I have self-enforcedMySpace promotion a for the moratoriumtime being. think I onthe level of organic growth on my Stephanie Kirkham Stephanie lamb m

in wolf’si clothing?

50 Wears the Trousers magazine Astrid Williamson 51 Summer 2006 Summer “Of course, that was a nice intro- This early start was helped along “So I’d go down to the Festival Club Crazygolf isn’t exactly rock ‘n’ roll in a beautiful voice’. I wasreally really shyshy then, of ‘leave men, me and alone’…I just I went wascouldn’t all all,takeshy andthe like, compliment. little I towas understand too that he wasgive trying me toencouragement. duction to the too, stage learning and to about stagecraftning about an audience,microphones…I lear-went on to good thing if you’re andgood you goat aftersomething it.” by a unique exposureher island to community. the “When musiceventually my in mum remarried,– sadly he’s passed myaway founder now – wasof stepfather thethe Shetlandheintroduced folk me tofestival folk music. He lovedso DickGaughan, Pentangle, Steeleye FairportSpan, Convention…hegreat…from Liverpool wasall and Dylanpure and really1960s, The Beatles.a Communist He wasso healso left-winghad this takeincredibly on folkfolk music music, – English verywho gave pure. me a sense So music.of it the Notintegrity was self-righteousness, himof music is amazingbut thatand shouldand maintained be upheld in society;given a platform.it should be and hang Which out was with a remember Dave huge he Swarbrick! privilege came was up really. about to eleven I me and when said I ‘you’ve got this perfect place I’d‘I created don’t and want think and anyone ruin tomy perfect come quiet, world.’ in privateI’m now quite person. a Ibecause never felt lonelyit was justpeace. Solike I wondered this aboutunspoiledputt the pitch thing…that ‘n’ wasI neverso muchreally funlearned ofand fun.” to have that sort itself, so with even thatdenied simple to thepleasure young Ms Williamson,must she have had the plenty piano and of make time up ditties.some to childhood “Well, play when I was littleten – years nine orold – I was composing,tunes making up. Now I a recognise very feeling that me. it process; was I don’t it think wouldsituation, it move mattersI think aboutthathave the the happenedmusic would nature/nurture whatever. That thing…your important. whole nature’s Playing so theI pianowas justand goodstuff. at musicit as well! was You know, easy. And I think that’s a sister was in highhome school extremely when earlyhouseI’d get all and perfect I’d just get for the me. I’d sit in ” per se. There was a period when my The reference to her early years gets A broad smile lightens her features as “I was brought up in Shetland and She laughs, acknowledging a minor Having just watched her and her father had remarriedEngland, and was my mumliving was inworking and my shesuddenly realises the apparent inanity of this supposedly She profound laughs statement. again. some “My ways point Shetland being…in and I can was bereally a a what country bit becomesgirl. raw It’s normal odduntil in I life…I was twelve, mean,with twenty-six I wentpeople, toand something I a think school likethat that you look really at things. colours You know, when I was how atsecondary school there was always lots todo, clubs and stuff but not when you’re out in the county. session band becausethe it’ssharing, the intimacy,the justrespect…I want to bedon’t the boss,really me wondering about thewhich other growing ways up in ascommunity part might of have an hadeffect. islanda “Theformative other day, some friendsgoing were out and rang me to ask toif I come.wanted They were going‘n’ putt toand I suddenlyplay pitchwondered…where was my pitch ‘n’ putt in Shetland?!” they like them or not…they’ll get a stylistthat they may “Mind not you, like!” I’m sure shethat isn’tJennifer chuckles. stuck Lopez with people but nevertheless!”she doesn’t like, was, for most of of the the road time, in nobody at a the tiny else. end little Andfamily valley even I with was though easy very with I isolatedpeople had quickly,my so Isociety tend I’m to in notfind wherewould I bework. veryI think hard it for me to have a tiny that among the the bassist audiencelittle was of subterranean practically diners the café,musicians in are it’s theused clearto cosy operating manner, that in up closea and personalAstrid with and everyone else.having I ask bandmateswhether whogood friends are is an alsoimportant for touchstone really her. feel “Oh god sorry successful yes! for people Sometimesbecause profoundly, cast they into an must I arena with extremelybe people theyknow don’tand have no control over whether home with my piano…particularlyit’s awhen balmy night, I’lland play.” open the window idiosyncrasy, and leans in slightly to make furthera admission: “I’mthe eternal buffet person, I just want to pick at something.” band cooking up a storm on a stage so Day Of Trevor , it’s like a pendulum and eventually caught up with singer-songwriter Astrid struckWilliamson out from the confines of cult t’s been a decade since Shetland-born It’s a restless muse that does it, and After supporting Bic Runga on her As a result, she lost her deal and a I’ll just think, completely ‘OK, different’ let’s and do just somethinghole up at I shouldn’t be doingbang in that the middle now of ‘cospromoting The I’m Lone Wolf she says slightly starry-eyed.relationship “It’syou likehaven’t a had bit yet,like a fallinglittle in love. And even though to get that sort of quiverwhen of anticipation you have start enough thinking songs for you a almost new record,” any waves of come along. opportunity that might she’salready thinking ahead. “I’ve started the brooding her music, intensity she is candidabout that andliving passionate life inhabits to the full and coasting she is anything butshe’s easy hyper-intense, to talk that toget andgo, openis a fromrelief the and a pleasure. For all – quite thebecause her oppositesongs can dark often in and feel introspective. factrather – So to but find that someone who is pleasantly theirat odds with projected Williamson is no persona, exception. Not becauseshe’s and famed for Astrid any diva-like behaviour It never failsin to this make line an of impression work when you meet Ms Williamson and posed pressingonly the questions most about life, the universeand, um, pitch ‘n’ putt. between a bewildering number ofappearances festival all Raggatt over Europe, be a miniature nightmare. recent UK tour and on a rare break reviews of looking her very career much skywards.busy and has her In things schedule fact, been so are her that downtracking for an interview turned out to become the nextalike, Astrid’s million-selling latest Lone album Dido- Wolf Day is Of The receiving some of the best radar and sold modestly.that Well,the theythird time’ssay a charm,no oneand while is realistically expecting her to second solo on album her own later label,though materialised Incarnation it barely Records, even registered on the trace despite an enviable clutch of quirky,offbeat songs that others wouldtheir have grans sold for. Dress to embark first on bite a of solothe cherry career.however, wasand Her aher bitteralbum one,sank without a I (as in largely ignored) indie duo Goya i wolf’s

lamb in clothing? m 52

Wears the Trousers magazine Astrid Williamson run with the pack? That’s OK!” OK!” That’s pack? the to with I’m run want don’t You “So off this. like be me laughs. to allowed she let actually,” kinda hook this the but alone being problem a have don’t I loner. a think quite I am I because amazing!’ ‘how thought Anyway, I on! bang it’s of lot a but stuff, of bunch a lone says…well, the It of birthday. my day is wolf the title; a And has day that. than every cooler anybody There isn’t mine! just on born birthday. was your Blake on William born was who says days. It 365 it, in birthday that’s everybody’s “Oh, with book me. table a coffee I have at profound! really aimed self- are or words her mocking whether to first at difficult tell actually it’s and again, gleam eyes Her title? the behind story the what’s question... it’s stupid decide obvious, I the ask to rapport, safe a up build to time too!” answer I to so anybody label have own didn’t my on out it put to going was I decided I And right. be to had sorta it one?’, last the it’s if ‘what thinking was I I it grins. hand to she over,” arranging; want don’t I the it, in of I pleasure lot that get a did landscape I sonic wanted. a that the was So album achieved the it up liberating! summing really of lot was those little It of many million so myself. a made I of and amalgam decisions an record a like Making is go. to it of wanted charge I in how was I that was me for thing important most “The (and proud. clearly deservedly) she’s opus which of latest her something – about chatting start we day!” a hours four for unlike classes in hard, free. so being felt quite I wasn’t it perfect. Suddenly year just was last this that that course quite – the was it finish fact to in hard – in then songs. knew bands I writing in And started had involved and end the gotten Glasgow by I’d But it, in! of be to environment amazing purity. an such such a to education, that such To have exposed just be to it’s think of privilege I waste are now bloody but what a time!’, god, What ‘my thinking? you thought, I For while notes! of a millions black me, many great a dots…believe is which – minutes 40 music of memorise me have begin. she’d she’d So before lesson, the to before came music I the she’d all and memorise me woman Russia make in Australian trained an been who’d was time the teacher My at completely. committed such it to who’ve got themselves people has that. with genre purity, loved every and know, music You classical study Reckoning that we’ve had enough enough had we’ve that Reckoning Because too. of fear, sort it was “Maybe decades, of couple a forward Leaping garden. You’ve gotto be land inVanland Morrison’s the javelin will ofjoy out there waiting, out there waiting, ready to it.”ready grab “if you’re not Astrid Williamson 53 n Summer 2006 Summer Noticing that the find their voice was thinking so of maybe I doing something with them. Something really sumptuous! Och, turn it’ll into another rec- ord but so there’s much still Whatever anyone tosays, I’ll always write. write! This is what I do.” time’s a-fleetingusual, I squeak in as onemore question – does she find that the songs have to come lot withof effort a or do they just flow outhead of like her a This fountain? provokes another smile and a self-aware giggle: “If I and sit down make the room rather more mundane matters; what the ture fu- holds for Williamson. AstridA familiar theme returns. “Well,August’s quite quiet so I’m going to do writing some – I really love it! don’t I write want the same to songs,the same always record. seem toall I these have piano that songs never seem to be given a platform!’ must Having plumbed the depths of the at the typewriter think I atremember someone 9am saying every you’rethat if not day. out there I waiting,of joy will the land injavelin Van Morrison’s garden. You’ve got to be ready areto likegrab javelinsit. Songsgoing throughyou’re thenot inair; your gardenif waiting toone, grab you’ll miss it. That’s nice that.” Astrid’s album is reviewed on page 65. for it, yeah! That can be prettylike hard…it’s Graham Greene used to go and sit in there means that musicIt’s is givenimportant. an importantat place. any You churchlook angels and there and they’ve are guitar…and all got this these a is trumpet in yearsplaces or old. a They’re a thousand all playingMusic something! is extremely powerful.point, This isit the human experience over a beer it is time to windthe interview to aclose so Ireturn to Arethaand all those gospel singers withalong the seraphim and cherubimdifferent – ninekinds! For that to actually get It’s a safe assumption that she agrees realms of singers, ofnine angels different who sing… typescan of you singer! imagine? I There’d mean, be Whitney, of such things; amazing,of bravery amazing and kindness feats cruelty and, and hideousnessof course, too. As a specieswe’re an extraordinary creation!” that music taps into this highersome beingmysterious in way – it canwaynothing move else in a does. ‘Yes, I think probablythat’s why in scripture there are nine that when, say, there’s a war…everysomeone timedies it’s agreat loss. One human being is capable when they’re of destroyed such it’s like creation theof death so that much. As a species we’re capable I’m very fascinated by creatures!was Whenlittle I in Shetland, theremore was nothing intriguing than, little say, wall and going hearing the past chicks inside… a there were animals and lifeNature’s everywhere. astonishinghumans! If you wanted to but Biblicalbe completely about humans… it, god. we’reThat’s mind-blowing. the creationI always think of

That rather suggests that human “I wouldn’t want to I asked whether I mention that despite the subtext collection of chemicals,that we’re right? extraordinary, “I we’re think amazing. be. I think that’s a really big deal.” beings are more than just random has an enormous capacityfor good foror bad growth–and for making – choices about what kind of human they want to spirituality and religionneed in come humanity in…thatyourself. to I think that feel every single bigger person than it is intellectually, spiritually but too! put a name to it, but clearly that’s where should I sleep with?’… it’s massivelythan that. more Of course things like ‘what eat? do where I do I sleep?what do I drink? who a species, we hugecapacity havefor living a above and beyond to either, becauseyour emotional of onse resp- and feel what in your heart. you As a higher and self, a lower and when you’re you answering know life than just flesh and blood. I genuinely be-lieve that humans have of her personal beliefs. “Spirituality, yeah!think there’s I more to never stops.” that was a reflection yourself, you must fulfilled be from – within and seeking that kind never leaves, of Life seems to be filledwith seeking. You can’t be fulfilled outside maybe it’s aboutquestions the never you get away can from. some peace, some answers…notidentity, even anbut more the questionsall of ofit. why, Maybe it’s not about loneliness, fewmoments’ reflection she commits toa comment: “I think that it’s a very seekingrecord. But there’s more tonot it than that, just seeking of another…seeking a sexual predator simileAstrid from pulls the a title.know! face What’s that that all about?’ clearly and after says a ‘I of loneliness and lacking isolation in community a societythe that album, runsa lot of through reviews have drawn Amy Wadge Amy Amy Wadge

t’s a dazzlingly bright Spring afternoon Mariella Frostrup’s show is booked and we afford a string orchestra, so it’s just one when Trevor Raggatt arrives at find a quiet corner for our chat. guy; on Shattered he plays around twenty- the BBC Club West One in the heart of “These are very weird things to do,” she five violins – multi-tracked. He’s got nine Icentral London for a chat with Bristol-born, laughs. “I’ve got nicely used to doing my different violins and violas so they’re quite Cardiff-based songstress Amy Wadge. The kind of gigs where I don’t worry about what different and it sounds like a bunch of sight of the ‘Wadgemobile’ sensibly parked I say and what I do. In these circumstances players. Also, I’m really pleased that some outside of the building finally dispels those you know you’ve just got to get the songs of the vocals literally were first takes; we irrational worries that he’s got the wrong out and not do a hell of a lot of talking. tried recording them again and thought time, the wrong day or worse… that they’ve You’re just trying to let them know exactly they were shit – particularly Fairweather got the wrong reporter! what you’re about in twenty minutes, Friend. I just sat down and recorded it for which is really hard. I much prefer to do it everyone to listen to and that take just Inside, the diminutive singer sits in a in an hour and a half.” stayed, which I like.” secluded corner of the bar with a couple Still, the BBC seems convinced and the Having read some of Amy’s blogs on of friends and husband, Alan, providing album is picking up plaudits elsewhere too. the recording process, it all sounded rather moral support. When I introduce myself, “At the moment it’s early days, but so far idyllic – a house in the middle of nowhere press pack clutched sweatily in hand and so good! I prefer to listen to people who where you just go to create. However, thank her for taking the time out to talk actually listen to music. Of course, music life’s not always like that. “Idyllic?” she to me, she’s genuine and warmly grateful reviewers are really important and it’s booms. “Yeah, on paper! In reality, I had that I’ve bothered to come. It’s quickly lovely when you do get good reviews but to remortgage my house and get some apparent that this is going to be one of there are always bad ones as well. So, for financial backing from someone, but then those easy interviews where there’s no me, if people who are genuine music fans it was the most amazing period of my such thing as an awkward silence. As pre- write a review or come to a gig and say life doing it! I lived up in Anglesey with showcase nerves set in, our conversation ‘Oh I love the album!’, those are the things [producers] Henry Priestman and Guy flits between fretting – “what if no-one I really love to hear. But basically I’m just Batson for about six months, off and on, shows up?” “There’s twenty minutes to pleased it’s out there at last. It’s been a long and we recorded there and a place called go, free sarnies and a bar… they’ll show time and a bit of a struggle.” Bryn Derwyn. We finished the album in up!” – to the BBC’s convenient proximity When I mention that, to me, the album Real World [Peter Gabriel’s studio complex to shoe fetish appeasement on Oxford sounds really organic, like a good recording near Bath] at the end of last year; we had Street and the tax deductible nature of of a band on top of their form, her eyes about three months off because we ran ‘stage clothes’. light up. “Well, that’s the best compliment out of cash! But there were loads of things She needn’t have worried. Five minutes I could possibly have. That’s all I ever I still wanted to do so we got some more from showtime and the room is buzzing wanted it to sound like. On my first album, money and went in and finished it off in with anticipation. Better still, the selection WOJ, I gave everything to the producer Real World. So it wasn’t straightforward of songs from her new album No Sudden and said ‘do whatever’, but it didn’t really by any means, but I wouldn’t have changed Moves easily convinces the roomful of jaded work for me. This time, I have a band that any of it because it was the best year I’ve radio professionals, eliciting enthusiastic knows me really well, knows every single ever had, to be honest!” applause and no small number of whoops one of my flaws… and the best thing about The album’s undisputed centrepiece and whistles. Eyes that had been casually it was exactly what you just said. I wanted is that stunning cover of A Design For Life, darting around are suddenly divided to hear my band being recorded really well, but it’s been a controversial choice. One between rapt attention to the stage and particularly my drummer Aled [Richards, Manics fan commented on iTunes that earnest study of the promo lit. Amy closes formally of Catatonia], and just do that sort pressing CDs of it would be a criminal with her thoughtful, moving rendition of of album. Just sit down and go for it. waste of natural resources. “Well, first off the Manic Street Preachers’ A Design For “Despite having no money, we were I did it at the Corn Exchange in Cardiff Life, and the spell is complete. A short able to create the greatest things that I’m during soundcheck – a couple of guys while later, the room is worked, the right really proud of! Things like the strings on were there and they went ‘oh my god, people are schmoozed, a live session on the album. In a million years, I couldn’t that’s brilliant! You’ve got to do it tonight!’,

54 Wears the Trousers magazine Amy Wadge

so I did! It was a long time ago, I was “It’s gut-wrenching because it’s about with my album finished and representing supporting Eric Bibb and it was one of the suffering of the valleys’ people. I’d me how I want to be rather than going in those moments. My Mum and Dad were love to ask James and Nicky what it means and getting manufactured the hell out of. there and they said it was the first time to them. Everyone’s always... [goes into “My record company and my manager they thought, ‘shit, everyone’s gone quiet!’. drunken footie fan mode] ‘waaah, we only are the same person, so he hasn’t got any It was amazing because, of course, it’s an want to get drunk… aaaaay!’ – but they problem with someone coming along and anthem and means a lot to people. I kept don’t know what they’re singing. What saying ‘here’s loads of cash!’. They’ve stuck doing it at gigs and people were saying they’re singing is so sad, those words just by me and I’ve been able to create a great ‘you have to do it, you have to record make me choke, so I just wanted to try album. But the whole thing with majors and release it’, so I did and it goes down a and do it in a way that brought that out.” at the moment is just crazy. Until you’ve bomb at gigs. The slagging off on iTunes Conversation then drifts, as it often already got somewhere they don’t sign thing? I expected it. It’s literally 50/50. I does in such situations, onto the trials you…so that’s what we’re trying to do. either should be killed for doing it or it’s and tribulations of being an independent And if we don’t get somewhere, I’ve still the best thing they’ve ever heard. But the artist, something that must have plusses got a great life and a great career…we’ll Manics really like it; Nicky Wire rang up and minuses? “Yeah, it does. I mean, I see what happens!” to say so when I did it on Phil Jupitus’ don’t know if anyone really sits down and It’s clear that music is Amy’s passion, radio show. That’s the only thing I would says ‘oh, I’m only going the indie route’, something she just has to do. “Yeah, I have worried about. I’m not doing it to because if the right deal came along then always say – and it’s really true – it’s get my ‘big break’, I just genuinely love of course you’d go for it. But I’ve always the reason I get up in the morning. Any the song.” felt it would be better for it to happen now, time where music’s been missing from

Summer 2006 55 my life, it’s never worked for me. Even if sharing something. It can be incredibly plays Myfanwy in Little Britain, is playing I didn’t do it for a career, I’d be playing exciting. And you can also write a song the lead. They’re doing a two-week run music anyway. I just love it and it really for somebody that’ll mean something to and they’re using me, Cerys [Matthews, dominates my life. Sometimes I wish it them personally but doesn’t make you feel also formerly of Catatonia] and Jem for the didn’t, but it does. I can’t give it up ‘cos it that you’ve got to give everything to it. musical backdrop. I’m going to launch it won’t give me up.” I know that sounds weird, but you can as well for them. It’s just really flattering.

Amy Wadge Amy From the very first song on her talk to them about what they want to That’s a lovely bonus about living in astonishing debut EP, The Famous Hour, write about and then you can create Wales for me – that I can get asked to Wadge has distinguished herself as a something for them – which is empower- do these things. I’m really excited ‘cos I songwriter of depth, one who is able to ing and exciting.” trained as an actor so it’s like I’m kinda mine deep, rich seams of emotion. Her So is this likely to be a twin-track keeping my hand in.” inspiration? Life, in all its glories and career? “Definitely! I think it’s just sensible So is she tempted to jump up on disappointments. Amy explains: “I’ve really ‘cos I’m a woman so I’ll probably want stage and steal the show? The answer is always treated songwriting like a diary to have a baby at some time, and maybe I’ll an emphatic “hell no! HELL NO!! My thing. Some songs will never see the need a few months off…whatever. Basically, husband’s an actor. One actor in the light of day, where I just needed to write I just think that it’s good to have another house is more than enough!”. Once again something about a specific thing. It might string to your bow. I’ve started do some she dissolves into laughter; “Funny, I don’t be too personal, but miss it at all!” everything is always about As we’re wrapping my life or something in up, I reflect on the my life. It’s actually much fruitful and varied harder to write when I’m career she’s already really happy – and I’m had – a busy touring pretty happy these days! schedule, reality TV, Happily married and stuff two consecutive Welsh so I just tend to borrow Music Awards, acc- other peoples’ misery.” ompanying the Welsh A huge grin starts national rugby team to creep across her face; as a cultural ambass- “if one of my friends is ador…did a little girl going through something from Bristol ever horrid I’ll think great! imagine doing all I’m sorry you’re having that? “Never in a a hard time, but thank million years! Even if you for the material!” it all ended right now she laughs. I could still look back Of course, that rather and go ‘Jeeesus! Look begs the question whether what I’ve done!’ she sometimes finds it a “You know, I al- little too weird to expose ways say that the these things in such a megastardom thing public setting? “Yeah, no is a total lottery, but doubt about it. Sometimes what we’ve hopefully you wonder at a show, do been doing is build- you tell everyone what it’s ing something that really about? But most of is sustainable for a the time I don’t actually say. There are writing for the theatre and I really enjoy it. very long time – maybe until the day I certain songs that are about specific things The more things I can do that I’m not at die! I’d love to get a career that’s maybe – Play It Again is about a friend of mine the centre of…well, that’s great!” a bit more controllable, where I can say I who died – so those things I definitely “It can all get a bit self-centred,” she pretty much know what I’m going to earn say, but you can make your own mind up says with another huge laugh. “You know, every day…to make a sustained living out about what a song’s about. Sometimes it’s all about you all the time, so it’s kinda of music would be brilliant!” that’s half the fun!” nice to do something for somebody else, A month later and I’m watching Amy As well as producing songs for her- maybe give them a song and hope that’ll sing her heart out to a rapt and jam-packed self, Amy’s talents have been increasingly help them get somewhere.” audience at one of London’s foremost procured for other projects. I wonder I ask about the Educating Rita project rock clubs. All attention is focused on the whether she finds writing with or for she’s become involved in lately, a version tiny powerhouse commanding the stage other people much different from doing set not in Liverpool as is traditional but and the thought occurs that if passion, it alone, provoking yet another hearty in her hometown of Cardiff. “It’s really talent and dedication are any indication laugh. “Silly as it sounds, it’s a lot less of weird, it’s only just sort of happened. I for a successful future, then Amy’s dream a burden. When I write a song for myself, wrote some music for a play called The just might come true. n it’s got to be better than my last song. Butterfly that was on at the Sherman But when you write with somebody else Theatre in Cardiff, so I presume it No Sudden Moves is out now on Manhaton. there’s less of that because you’re just stemmed from that. Ruth Jones, who For live dates, check www.amywadge.com.

56 Wears the Trousers magazine Stephanie Kirkham

determination to prioritise the music above all else, sacrifices were willingly made. As well as occasional stints behind the counter at the florists run by her mum, Stephanie would often retreat to the back of the shop and express herself through painting. What started out as more of a hobby – “a case of make a mess if you want to” – has now become a potential source of income with her recent acquisition of a publisher who first caught sight of the paintings on Stephanie’s website and offered to help her to sell them. “I think painting’s a good outlet for me,” she smiles. “It’s quite abstract, more about the feeling they give. A lot of the time I ended up painting over everything. I really wasn’t expecting to sell any, it was just a release. Now I’ll keep doing them!” “I’ve never worked a nine-to-five job,” she admits. “My writing is the most important thing. I might not have achieved things that other people have – a house, a family, a fancy car… blah blah blah. But I’d rather have this type of life and fulfil myself than get stuck doing something I’m not in love with.” Clearly, she’s a lot tougher than she looks. The total disaster with Hut taught her a few things about survival in the music industry and there was no way that she was going to put more of her work into someone else’s hands. She wasn’t going to let someone else decide how the music should sound, how the production should be done, how the album should be marketed or whether or not it would ever even reach the shops. It was a smart move, one that witnessed the birth of SLK Records and set the wheels in motion for n 2002, from almost nowhere, delicate she seems, both in frame and in a triumphant return. “I suppose the wind Stephanie Kirkham was signed by Hut spirit. As we sit down, she bristles with had gone out of my sails a bit,” she ponders. Records for an astonishing five-album palpable nervousness before settling into “I just thought it was too much of a risk. Ideal that seemed certain to ensure a bright interview mode and relaxing a little. The That at least if I did it and put it out there and rewarding artistic future. But when thought that springs immediately to mind myself, well then I’ve done it and whatever financial crises sunk the label shortly after is how someone who appears to be so happens from there can happen naturally. I the release of her acclaimed (and entirely sensitive managed to weather being cast felt that I needed to keep all my cards close self-composed) debut That Girl, taking all adrift after Hut’s demise. “It was such to my chest – a kind of protective instinct hands with it, Kirkham was left high and a quick thing,” she remembers, “people – ‘no one’s going to stop me. I’m going to dry. The world, it seemed, had missed out were still expecting something to happen do it in a small way but it will happen!’” on its chance to befriend this fresh new and suddenly it was over. It was a bit like However, it wasn’t easy; without talent with her uniquely English sound. a dream really. For a while I didn’t know outside assistance, Stephanie and Johnny Until now, that is; Stephanie is back and what to do but I had Johnny to lean on. I found themselves occasionally going a more determined than ever to steer her kept writing and then we started putting little stir crazy in the studio. The project own destiny. Her new album, Sunlight On the demos together and started to work meant so much to them both but their My Soul, was self-released earlier this year, on the album. It was just a case of ‘this is perseverance at working in tandem paid again to high praise, and she’s not looking what I do and I can’t stop because someone off in the end. Even without knowing back. Trevor Raggatt caught up with says sorry, we’ve closed the business’. My these things, Sunlight On My Soul feels Stephanie and her musical ally Johnny business has to keep going so that’s what instantly more personal than the bigger Dunne at the first of a series of low-key gigs I did.” budget debut. Stephanie agrees: “Usually around the London circuit. Of course, putting together an album you have other people coming in and to a professional standard takes a fair bit giving their input, but there’s always a bit One of the first things that strikes you of cash. But with Johnny’s expertise as of a price to pay with that because it’s not about Stephanie Kirkham is just how soundman and producer and her own being totally true to yourself. This way we

Summer 2006 57 could just make something that was pure, there when we didn’t know anything that’s why you often think of stuff in the organic and how I really wanted it. It was about distribution, licensing and all those car because you’re on the move. There’s difficult sometimes but it’s more special things; it seemed like there was so much just something about being on the move, because of it. There wasn’t any interfering; to learn. So then I wrote this song. I think being free and getting outside.” it was a lot freer.” it was like a little voice in my head saying As you might expect with a title like That sense of freedom undeniably ‘you will get there, just get on with it!’. It Sunlight On My Soul, there’s a charming Stephanie Kirkham Stephanie

Amy Wadge translated well into the songs, allowing just came out with that jazzy feel because sense of innocence to Stephanie’s songs. them a greater depth of character. Several that was the energy behind it, a carefree, Certainly not the usual cynical singer- of the songs, and particularly the title track, happy feeling. Actually, all the tunes tend songwriter fare; doesn’t she ever get really positively burst with experimentation and to just adopt a natural feeling and the pissed off? “I’ve got a few really grumpy daringly unconventional touches that styles just mirrored that. I suppose that’s ones but everyone has, haven’t they? I push the envelope considerably further why the album goes a little bit all over tend to keep them in but sometimes you’ve than your average humdrum folk-pop the place. just got to get your emotions out. That’s collection. Who said a shoestring budget “Bad Dream is a nightmare,” she why music’s so brilliant because you can was a creative noose? Sunlight On My continues. “I worked in Japan a few times write an angry song and then move on to Soul sounds as plush as you like, though and it was strange coming back and something else. When Hut closed down I Stephanie is typically self-effacing about forth, like a pendulum; today I have to be wrote a really angry one, but they’re just her achievements. “Johnny’s brilliant at this, today I have to be that. Constantly phases aren’t they? You soon go on to the sound,” she grins. “He was responsible for swapping and being what people expect next phase. the technical side and making sure the you to be – I’d had enough of it. So it had “Even if the songs are quite sad, I think music sounded right. We’d talked about to have a dark Eastern feel to it. I was the music really lifts them up,” she adds. the stories, where the “It’s a good thing because songs had come from, you’re still telling the the feelings involved. story but you’re not He’d say ‘what about making everyone cry at this?’, ‘what about that?’ the same time. Overall, and, well, he made it all it’s quite cheerful. I really into an album!” really love it! Dunne comes over “I’d like to do another from finalising some album next year maybe. technical details with I’ve probably got half of the venue manager to one written and I’ll keep gently but emphatically working on those. We’re underline Kirkham’s own planning to take it as it contribution: “We did it, comes for a bit. These Stephanie. You too!” gigs are important to But what about me because it’s still early getting to grips with days as far as performing the finer details and goes. Beyond that, I mechanics of label don’t know. Just going management and pro- out and singing is a good moting the album? The step for me. We’ll see simple answer comes what happens.” back. Taking everything day by day and worried it might be a bit too dark but my Of course, such a multifaceted album ticking off achievements one by one; niece who’s five loves it. She whispers it in is tricky to reproduce when you’re just manufacturing, check! for sale on Amazon the back of the car ‘…it’s just a bad dream, an acoustic duo but Stephanie doesn’t UK and iTunes, check! “I couldn’t have it’s just a bad dream…’ and it’s like some seem worried: “They sound a little bit done it without Johnny, it just wouldn’t kind of scary story but she just loves it.” more folky because they can’t have all have been possible,” she admits. “But Nature is a recurring theme in many of those instruments. There will come a anyway, it’s out now and people are finding the songs, and when I comment on it she time when they can and it’ll be more of it. It’s a mammoth task but I didn’t want to grins. “I don’t know why that is. You know, a true representation. I think for now, give all the control away. If someone came I don’t know about past lives and stuff… though, they’re alright. You’ll find out in in and wanted to license it now it’s done, you never know for sure, but I must have a minute!” that would be great. They’d be able to really spent a lot of time outdoors!” Another smile lights up her face and raise awareness. Hopefully they wouldn’t The smile breaks into a cheeky laugh. she begins to get ready for taking to want to change the album.” “Of course, I did when I was a child. My the spotlight. She’s right, the songs are The first single to be taken from the mum was always pointing out the beauty considerably more stripped down and album was Show Me What You’re Made Of, in nature, making us appreciate it, draw folky but the audience are nonetheless a jazzy little number and the last song pictures with all the colours in and smell delighted. By being unafraid to show that written. “We’d sort of got the album things. She’s really brilliant like that purity and vulnerable side that makes finished,” Stephanie recalls. “I suppose – she’ll pick out little things that you’ve her such a likable person, Kirkham I started getting worried about whether never really thought about. But I do have seems likely to continue to capture many it would ever be finished. Would we get most of my ideas when I’m in nature, a heart, and deservedly so. It’s good to it right? Are we capable of getting it out outside going on walks and stuff. I think have her back. n

58 Wears the Trousers magazine ones to watch... Step up, wave the flag and get in on the ground floor with the ‘next big thing’; here’s a handy guide to some up-and-comers within the UK singer-songwriter circuit...

Shelly Poole Rose Kemp Julia Harris Its been ten years since Alisha’s Attic had Like Kamilar Thompson, Rose is a child of One of Wears The Trousers’ hand-picked their first big hit, but those halcyon days folk-rock royalty (Maddy Prior is her mum) favourites for 2006, Julia Harris’ These couldn’t be further from the mind of Shelly staking her own place in the music world. Days EP perfectly encapsulates her Poole. Her debut solo album Hard Time Take it from us, the stunningly surreal funkily muscular take on acoustic rock, For The Dreamer is a constant reminder folkscapes created by this prodigious with a nod to the great Ani DiFranco why she is one of the UK’s best singer- talent are a million miles removed from spicing up the mix. A full-length album is songwriters. Catch her on tour with Will any of her parents’ Womble-bothering coming later in the year. We fully expect Young later this year. tendencies. Album out soon! to be gobsmacked.

Anna Krantz Jane Taylor Helen Boulding London’s spiritual successor to Carole Bristolian singer Jane Taylor brings gentle The intelligent piano pop of this talented King and James Taylor. Recorded at Abbey pastoral folk songs to life with her sweetly Sheffield émigré is further proof that Road, her stunning debut album Precious innocent voice. One spin of her debut MOR needn’t always mean flavourless Time With You demonstrates that piano- album Montpelier reveals that she has a and dull. Boulding’s thoughtful tunes and driven, adult-oriented rock done properly wonderful way with a tale; a second spin contemplative lyrics all deserve digging can still reap huge artistic rewards. and you’ll be hooked. deeper into.

Lily Fraser Hayley Hutchinson Rosalie Deighton

Lily Fraser’s modern psycho-melodramas Adopted Yorkshire-lass Hayley Hutch- Half-Dutch, half-Indonesian, half-Barnsley soar over a bumpy musical landscape inson’s debut album Independently Blue …all talent! Rosalie Deighton combines populated by cello, concert harp and squalls has picked up airplay and plaudits across sublime writing talents with a stunning of electric guitar. Add to that a persona the land since its release last summer. voice. Singing her socks off in venues up that’s equal parts unearthly siren, Norma Hutchinson is currently involved in an and down the country, she’s picked up a Desmond and “the first Mrs Rochester” and independent film project due sometime host of admirers that might soon include what you’ve got is a surprisingly sublime, if next year and will be on the road with Eric you. Rosalie goes on tour with Amy Wadge scary concoction! Bibb this autumn. and Edwina Hayes in November.

Summer 2006 59 it’s still chock full of lush harmony vocals and thoughtful pop songs (many of which were inspired by Mann’s split with Hausman). In truly bittersweet fashion, the album’s title track gave Mann her sole bona fide hit to date, hitting the upper echelons of the Billboard charts. Aimee Mann Aimee

Welcome Home (Epic, 1986)

For the second album, Mann began to assume much greater responsibility for the songwriting duties. This led to a sound that was clearly maturing from the first album’s dance-synth pop, providing a clear bridge to her later work whilst retaining an inescapably Eighties vibe. Standout tracks include Coming Up Close and the heartstoppingly beautiful No One Is Watching You Now. It may have been a commercial flop but Welcome Home is artistically sound. aimee manna buyer’s guide to reative force, campaigner for artists’ rights, bête-noir of record execs, Y You ‘Til Tuesday filmmaker’s muse, professional cynic C…this doesn’t even come close to covering the Mann formed the Eighties post-new wave pop multifaceted talents and fractured career outfit ‘Til Tuesday in 1983 with fellow big- path of Virginian songstress Aimee Mann. haired alumni of Boston’s Berklee College of Despite a stop-start career spanning over Music, Michael Hausman (her then boyfriend), twenty years and more bad breaks than an Robert Holmes and Joey Pesce, and over the orthopaedic surgeon could shake a splint at, course of the next seven years produced three she’s amassed an impressive body of work under-appreciated albums. across a dozen or so albums. It’s testament to her consistency that the only below-par, Everything’s Different Now completists-only offerings in her canon are (Epic, 1988) a pair of cash-in compilations put together without her consent. Mann’s career to date The third ‘Til Tuesday album is effectively a can be easily thought of as four distinct eras band record in name only, and can be thought – the formative punk years, Eighties pop of as representing the first of Aimee Mann’s semi-stardom, major label agonies and the solo albums. In fact, the band split soon after hugely credible independence with which she the completion of the disc and, in the first of now operates. many contractual wrangles with record labels, The next entry in her oeuvre will be Mann was forced to tour the album herself, the somewhat surprising, if not downright prevented from working as a solo artist in her unexpected, festive collection One More own right. Such woes might suggest a weak Drifter In The Snow, released this coming and directionless disc but the opposite is Hallowe’en. In typical fashion, she’s warned true. Largely inspired by the end of her well- us to keep the Kleenex close to hand; Voices Carry (Epic, 1985) publicised relationship with singer-songwriter joy to the world will not be forthcoming. Jules Shear, the album boasts a number of With that tantalising prospect in mind, The first ‘Til Tuesday offering is very much a great songs that foreshadow her later work, Trevor Raggatt takes a look back at the product of its time, with its buzzing analogue including Limits To Love, J For Jules and the extraordinary career of one of our very finest synths, clanky up-front bass and overproduced Elvis Costello collaboration The Other End (Of singer-songwriters. guitar sounds. But dated as it may seem now, The Telescope).

60 Wears the Trousers magazine Aimee Mann

Aimee’s first solo album proper is a glorious website. Presented in a hardcover book format slice of quality pop and mature, knowing with additional artwork by cartoonist Seth, songwriting where Sixties-inspired jangle- its bonus disc includes five live recordings rock numbers like I Should’ve Known, Fifty Years (including a great cover of Coldplay’s The After The Fair and Put Me On Top rub shoulders Scientist), two B-sides, a BBC session and two with quirkier musings like Stupid Thing, Jacob unreleased tracks, one of which is a duet with Marley’s Chain and Mr Harris. Despite its faintly Glenn Tilbrook of Squeeze. dismissive title, Whatever is a surprisingly joyous affair that largely avoids her, by now trademark, cynicism. As such, it could well be GET WITH STUPID the perfect introduction for newbies.

Coming Up Close: A Retrospective (Epic/Legacy, 1996)

Those who want to explore Aimee Mann’s formative efforts but are unsure of where to start could do considerably worse than investing in this handy compilation. Includes ‘new’ song, Do It Again.

I’m With Stupid (Geffen, 1993) Bachelor No. 2, or the last remains of the dodo (SuperEgo, 1999) This second solo offering is patchier work than Whatever, its outpourings of punk-pop angst This is the album that almost certainly lost Mann on tracks like Superball seemingly betraying a her last major label deal – but not because it’s growing frustration with her label’s demands for rubbish. Quite the contrary! It is alleged that the a hit. You can’t help but wonder, then, whether suits at Geffen didn’t hear enough radio-friendly the sleeve’s depiction of the lyrics was cocking single fodder and dispatched Mann back to a snook at the powers that be - all the words the studio with her tail between her legs, or so are there…in alphabetical order! However, they thought. After a lengthy legal tussle over the luxury of ‘patchy‘ in this particular artist’s artistic vision and rights, Mann was eventually back catalogue is that the songs remain well released from her contract and Bachelor No. 2 above the acceptable standard for most artists The Young Snakes, featuring saw the light as an independent release on her (notably Choice In The Matter, Long Shot and Aimee Mann (Lemon, 2004) own SuperEgo label. A baker’s dozen of moving That’s Just What You Are). Glenn Tilbrook and songs that still shine brightly, this is the record former Suede guitarist Bernard Butler guest. In 1980, Mann dropped out of Berklee to form that famously inspired Paul Thomas Anderson’s Well worth exploring. The Young Snakes – in her own words, a “little cult film ‘Magnolia’ (later pressings include the punk noise-art outfit” that ended up constrained soundtrack’s Oscar-nominated Save Me). by its own “break every rule ethos”. She eventually left to form ‘Til Tuesday as a reaction against the Snakes’ “lack of interest in sweetness and melody.” This compilation bolsters their 1982 EP with sundry studio sweepings. Avoid.

WISE UP AND BUY

Music From The Original Motion Picture Magnolia (Reprise, 1999) Lost In Space (SuperEgo, 2002) Not to be confused with the Jon Brion score, Lost In Space picks up where Bachelor No. 2 Music From… features nine songs by Aimee, left off with another immaculate selection of two by Supertramp and a Brion instrumental. downbeat tunes. Though rather more dour than Inevitably, there is some overlap with Bachelor its predecessor, with addiction and dependency No. 2, but the otherwise unavailable tracks like as its overarching themes, it’s still life-affirming Momentum, Wise Up and Mann’s unforgettable stuff. Worth hunting down is the special edition cover of Nilsson’s One are worth the admission Whatever (Geffen, 1993) version, released in 2003 through Aimee’s price alone.

61 Summer 2006 61 HITS AND MISSES Download delights

Aimee occasionally pops up on soundtracks, compilations and other people’s albums. Here’s a few worth investigating... Aimee Mann Aimee Rush – Time Stands Still (Mercury, 1987) It’s hard to believe that Canadian prog-rock dinosaurs ever went through an accessible “pop” phase but this single proves it. Mann provides backing vocals and also appeared in the video lying on her back rotating gently in the air above the band! The Forgotten Arm (SuperEgo, 2005) Shaken & Stirred: The David Arnold James Bond Project – Nobody Does It Better (EastWest, 1997) Mann’s latest opus is a loose concept album Mann’s contribution to this star studded tribute consisting of a series of vignettes charting the The Ultimate Collection to the classic Bond themes doesn’t quite match relationship between a down-and-out boxer and (Hip-O, 2000) Carly Simon’s original in terms of class, but her his girlfriend, from the first flush of love at the vocals and the Beatles-style arrangements come Virginia State Fair through separation (Goodbye This collection of songs up to and including the pretty close. Caroline), failure (Little Bombs), addiction, (I Was Magnolia era presents some difficulties for the Thinking I Could Clean Up For Christmas) and diehard Mann fan. Yes, it includes a moderately Aimee Mann & Michael Penn – Two Of Us / Lucy finally redemption (Beautiful). Taking a stripped representative bunch of album tracks and In The Sky With Diamonds (V2, 2002) back, live in the studio recording approach rarities (including five hard-to-find B-sides), as Another Beatles connection; these two songs harking back to Seventies rock, it’s almost well as the ‘hits’, but Mann is openly critical of it. are taken from the soundtrack to the Sean Penn/ flawlessly executed. It’s beautifully packaged, Whilst the album reeks of contractual obligation Michelle Pfeiffer film ‘I Am Sam’. Other highlights too; the sleeve presents the songs as if they were and was indeed compiled without any artistic are Sarah McLachlan’s version of Blackbird, Ben a novella and features illustrations by award- input from Aimee herself, it is still a fairly decent Folds’ Golden Slumbers and Heather Nova’s take winning artist Owen Smith. introduction for the neophyte listener. on We Can Work It Out. n

LIVING IT UP Forthcoming Releases:

September 2006 October 2006 04 Beyoncé - B’Day 02 Evanescence - The Open Door 04 Missy Elliott - Respect M.E. 02 Julie Feeney - 13 Songs 04 Charlotte Gainsbourg - 5:55 02 Juliette & The Licks - Four On The Floor 04 Anna Krantz - Precious Time With You 02 Tilly & The Wall - Bottoms Of Barrels 04 Maria McKee - Acoustic Tour 2006: Live 02 Kathryn Williams - Leave To Remain 04 My Brightest Diamond 09 Alesha - Fire’d Up - Bring Me The Workhorse 09 Be Good Tanyas - Hello Love 04 Dani Siciliano - Slappers 09 Husky Rescue - Ghost Is Not Real 04 Stereolab - Serene Velocity: Anthology 09 Frida Hyvönen - Until Death Comes 04 You Say Party! We Say Die! 16 Isobel Campbell - Milk White Sheets - Hit The Floor! 16 Sarah McLachlan - Wintersong 11 Bat For Lashes - Fur & Gold 16 Madeleine Peyroux - Half The Perfect World 11 The Duhks - Migrations 23 Girls Aloud - The Best Of 11 Kelis - Kelis Was Here 23 Lucie Silvas - The Same Side Live At St. Ann’s 11 Diana Krall - From This Moment On 23 Amy Winehouse - Back To Black Warehouse (SuperEgo, 2005) 11 Nina Nastasia - On Leaving 30 Aimee Mann - One More Drifter In The Snow 11 Revl9n - Revl9n Available as a bare-bones CD/DVD set, this sole 11 The Rogers Sisters - The Invisible Deck November 2006 live offering to date suffers from a capable but 11 Susanna & The Magical Orchestra 06 Joanna Newsom - Ys somewhat diffident performance. An Aimee - Melody Mountain 13 Sugababes - Overloaded: The Hits Mann show will never indulge in on-stage 11 T.a.T.u. - The Best Of histrionics, however, so it’s probably a fair 18 Shawn Colvin - These Four Walls testament to an artist appearing where, perhaps, 18 Cyann & Ben - Sweet Beliefs she seems least comfortable. Filmed over a 18 Fergie - The Dutchess three-night residency at Brooklyn’s St. Ann’s 18 Mates Of State - Bring It Back Warehouse, the neatly cherrypicked setlist 18 Scissor Sisters - Ta Dah! spans all of her full-lengths, with Pavlov’s Bell, 18 Veruca Salt - IV Long Shot and Deathly being particular highlights 18 Weapons - Weapons owing to some dazzling musicianship from 25 Tori Amos - A Piano: The Collection Mann and her fellow guitarist Julian Coryell. 25 Brightblack Morning Light - s/t Aimee and the band have a decent enough stab 25 Christina Carter - Electrice at the backstage interviews, but anyone looking 25 Natalie Cole - Leavin’ for real insight into the band dynamic will most 25 Janet Jackson - 20 Years Old likely be disappointed. 25 Jamelia - Walk With Me

62 Wears the Trousers magazine New Albums New

title and then, as Nilsen kills, the previously serene instrumentation explodes into beats so harsh and aggressive that it sounds like a trio of typewriters at war. Being taken inside the head of a mass murderer reviews is rarely an attractive listen, but Garbarek’s portrayal is up there with Sufjan Stevens’ John Wayne Gacy Jr. in its almost sympathetic Index: exploration of its subject. Abigail Washburn 84 Lavender Diamond 88 It’s little wonder, then, that Garbarek has since remarked All About Eve 87 Leigh Nash 82 Anja Garbarek Briefly Shaking / Angel-A OST that she should have called the album ‘Beauty & The Beast’ Allison Moorer 84 Lisa Germano 75 EMI Amy Millan 64 Liza Minnelli 87 instead of Briefly Shaking. That / title comes from the chorus of Andrea Corr 91 Madonna 90 the excellent first single The Last Ani DiFranco 69 Magneta Lane 76 A decade on from her startling Trick with its dark lyrical content, English language debut, Balloon candied vocals and unsettlingly Anja Garbarek 63 Mark Knopfler & Mood, delightfully quirky Norweg- perky backing. It was written as Anna Krantz 82 Emmylou Harris 78 ian chanteuse Anja Garbarek Garbarek was struggling with her returns with not one but two new muse after giving birth to her Asobi Seksu 88 Metric 65 albums, Briefly Shaking and Angel- daughter and could well have been Astrid Williamson 65 Mia Doi Todd 89 A. To be fair, the latter contains her swansong had it not been for Barefoot 72 Mina Agossi 73 little in the way of new material and the thunderbolts of inspiration what’s there is largely instrumental. found in tales of horror and crime. Birdie Busch 67 Nina Gordon 82 But as the soundtrack to maverick Sleep, for instance, tells the story Camera Obscura 66 Nouvelle Vague 65 director Luc Besson’s (‘The Fifth of a woman who was kidnapped Element’, ‘Léon The Professional’) and locked in an underground Cerys Matthews 92 Peaches 79 mysterious new film, shot in black bunker but works equally well Cibelle 89 PlanningToRock 83 and white on the streets of Paris as a metaphor for her burdening in almost total secrecy, it is more creative imprisonment. Cocosuma 73 Psapp 79 than up to the task. Given that The most keenly felt difference Controller.Controller 77 Regina Spektor 64 this is Besson’s first film without between 2001’s Smiling & Waving Dixie Chicks 77 Revl9n 71 composer Eric Serra, there was a and Briefly Shaking lies in the certain element of risk in taking addition of drums, particularly on Elin Ruth 78 RobinElla 68 Garbarek on, but Besson is clearly songs like Dizzy With Wonder, a El Perro Del Mar 73 Sandy Dillon 66 a fan; five old songs are seamlessly thunderously intense and dramatic scattered among the newer ones. number in which Garbarek plays Espers 75 Scanners 89 Of course, the risk was really the role of an observer surveying fields. 92 Skye 85 very tiny. Not only has Garbarek some twisted, post-industrial been consistently excellent thro- landscape, and Shock Activities, Howling Bells 81 Sol Seppy 73 ughout her career, she also has an with its slightly overblown kickass Ill Ease 68 Sylvie Lewis 72 outstanding pedigree for this sort rock bits and unexpected mid- Immaculate Machine 81 Tender Trap 75 of thing, following as she does in song shift into a cod-Gwen Stefani the footsteps of her world-famous breakdown but with far greater Imogen Heap 86 The Dresden Dolls 93 jazz genius father Jan, who has charm. Other highlights include Iona 90 The Fiery Furnaces 80 often dipped a toe into creating My Fellow Riders, with its piping musical moods for fiercely in- keys and gently throbbing electro Jane Weaver 83 The Gossip 86 dependent European cinema. As pulses, and This Momentous Day, Jewel 76 The Grates 75 they have often done in the past, an ecstatically unpredictable mon- father and daughter collaborate on ster that juxtaposes flute and Joan Baez 79 The Hot Puppies 81 a number of tracks, notably on new strings with grinding guitars and Josephine Foster 74 The Long Blondes 93 song It’s Just A Game with its jazzy coolly passionate vocals. Julia Harris 84 The Morning but subdued reassurance that “this Having said all that, while Briefly is as good as it gets”. Don’t you Shaking is easily Garbarek’s dark- Justine Electra 83 After Girls 66 believe it though. The sublime No est album to date, it’s also her most Karine Polwart 67 The Pipettes 69 Trace Of Grey is so convincingly accessible and lavish. Motherhood sweet versus sinister that it could certainly hasn’t reined in either Kat Flint 71 The Puppini Sisters 74 well have been recorded at a teddy her knack for telling unusual Kimya Dawson 71 The Tiny 68 bears’ picnic in, say, the bathroom stories or her beguling way with KT Tunstall 70 The Weepies 80 of cabin one of the Bates Motel. a drop-dead gorgeous melody. Sticking with a murderous theme, Considering that she doesn’t Ladyfuzz 93 Trespassers William 72 the actually quite frightening play a single instrument yet still Can I Keep Him? (the only song can pen such epic compositions, to appear on both albums) is her achievements are simply written from the point of view of astounding. She may not be the Reviews compiled by: serial killer Dennis Nilsen, who most prolific of artists, but with Russell Barker, Ian Buchan, Anna Claxton, Stephen Collings, lured several young men back to every release improving on the Tiffany Daniels, Robbie de Santos, Matthew Hall, Stephanie his home in Muswell Hill, north last, seemingly unbetterable alb- Heney, Lisa Komorowska, Andrzej Lukowski, Jean Lynch, London [just round the corner um, it’s only a matter of time Anja McCloskey, Scott Millar, Gary Munday, Helen Ogden, from Wears The Trousers HQ!], and before her brilliance is properly Alan Pedder, Trevor Raggatt, Alex Ramon, David Renshaw, chopped them into pieces. It’s a acknowledged. File between Laurie Lynn Roberts, Marc Soucy, Rod Thomas, Danny Weddup, towering example of Garbarek’s Anderson and Björk and play with Bryn Williams and Paul Woodgate skill as a writer; she plays with an alarming regularity. the lost pet interpretation of the Alan Pedder

Summer 2006 63 City aged seven, Spektor has been times laugh-out-loud funny: “Hey Regina Spektor playing bars the size of broom remember that month when I Begin To Hope cupboards for years. Primarily would only eat boxes of tangerines Sire a word-of-mouth phenomenon, / so cheap and juicy!” (That Time).

½ Hassle Photo: Big her dramatic rise in fame has Fittingly for that commanding led to sold-out concerts in more title, many songs on Begin To Hope spacious surrounds and, as a are uplifting and invigorating, New Albums result, Begin To Hope has clearly such as opener Fidelity, with its had a whole wad of money hurled bouncy plucked-strings beat, in its direction. With over two and the rock-out thrill of Better. months spent recording compared Recent single On The Radio with Soviet Kitsch’s brisk ten days, seems to almost parody the sound Spektor has been given a chance of your average radio hit, but the to experiment with production lyrics are thought-provoking and and instruments that she’s never somehow it works. Elsewhere, been able to before, with beats, a number of other songs on drums and bigger arrangements the album are kept sparse, with that her previous albums only Spektor’s talent for the piano the ever dreamed of. main focus. The best of these is The result is an album that feels Samson, a soulful weepie, while rich and cared for, but one that has the Russian gothic of Après Moi is already alienated some hardcore suitably dark and epic, complete fans with cries of “Regina’s gone with the atmospheric effect of pop!”. It’s certainly true that some clocktower chimes. of these songs sound completely There are a couple of songs different to the girl-and-a-piano that aren’t so successful, such as affair that is Spektor performing the strangely unmelodic piano live. But would an album of purely splurge that is 20 Years Of Snow piano-based songs really be as and Edit, which might lead you to varied and exciting as Begin To wonder whether Spektor has been Hope is? I doubt it. Regardless, having a little too much fun with nothing is able to detract from ProTools. On the whole, though, Spektor’s obvious talent for Begin To Hope is an outstanding songwriting and performing. album of substance and thought, The moment when any semi- self-released 11.11 and Songs Each song has its own story to a comprehensive delve into one established artist braves that and 2003’s breakthrough Soviet tell, both musically and through of the greatest young musical most perilous of career moves Kitsch — would begrudge her Spektor’s fascinating way with talents around who is carving out and delivers their first major label finally getting the deal she justly words. Her lyrics are at times trends, not following them. release is always a worrisome deserves, it’s bound to ruffle haunting and moving, such as May her fame continue to soar one. Though it’s hard to imagine some feathers. Field Below’s evocative refrain: so that she has more chance to that fans who invested in Regina Born in the former Soviet Union “darkness spreads over the snow / experiment with her passion and Spektor’s formative albums — the and having moved to New York like ancient bruises”, and at other her art. Bryn Williams

Amy Millan product of several years spent that characterises the rest of Honey From The Tombs as works in progress. “I wrote the album. Arts & Crafts/V2 all the songs prior to joining The exquisitely somnolent Pour Me Up Another ½ Stars,” Millan revealed in a recent signals an end to interview with the Montreal proceedings, Millan’s tear-tinged Few artists can pull off an entirely Gazette, “then I ran away from musings meeting despairing, elegiac album without sounding home to L.A.; I came back to a clean acoustic lines to create overly tedious or annoyingly self- black hole…” a pathos unparalleled by her pitying, but Stars frontwoman There are numerous highlights; earlier efforts: “the nights are for Amy Millan has just about done a disconsolate narrative on the forgetting who I am / so pour me it on her first solo outing. Honey loss of first love, He Brings Out up another before bed” — OK, so From The Tombss is a highly The Whiskey In Me comes as close perhaps many of Millan’s turns intimate work of self-disclosure to classic country as you can get of phrase are not really all that that touches upon loss, emptiness, — and even Millan admits to this far removed from your average restlessness, love gone wrong and — with its light rhythmic picking, garden variety country song, but the healing effects of whiskey on gentle slide guitar and ruminations for the most part she employs a broken heart. on where it all went wrong. enough musical variety that, as a Although Millan tries to dodge Abandoning the twangy lap-steel whole, it somehow works. the ‘country’ label, the conven- in favour of multi-layered dreamy Honey From The Tombs is neither tions and sensibilities of the atmospherics, Skinny Boy is rem- groundbreaking nor wearisome. genre are clearly instated in the iniscent of Stars’ engaging pop Some tracks are pleasant but upbeat twangy guitars, banjos aura with its feathery lush vocals, interchangeable; others are and mandolins, blues-infused xylophone and guitar. It’s also one catchy and poignant enough solos and melancholy finger- of the few tracks with drums, and to include in your cathartic picked acoustics. Further justi- while it’s pretty enough to stick heartbreak compilation. On the fying this is the presence of in the memory, it stays within whole, it makes for a memorable bluegrass group Crazy Strings well-mapped territory for Millan collection that works best on back-up. Even so, some and is certainly nothing novel. when you’re in the mood for tracks are arguably more folk The rocky Headsfull is short but mellowness, but keep it within than country, a few more pop sweet, while the swirling electro reach for those days when you’re than folk, and several lean more essence of Wayward & Parliament nursing a bottle of whiskey and towards a traditional rock sound. makes for an incongruent anomaly feeling real lonesome. Interestingly, these songs are the among the simplistic quietude Lisa Komorowska

64 Wears the Trousers magazine New Albums New

chanted mantra of “Buy this car and as insightful a soundtrack to die and repose” makes for a to drive to work / drive to work 21st Century living as an entire fitting conclusion to an album of to pay for this car”. Recent single library of US TV series spin-off exquisitely beautiful uncertainty. Poster Of A Girl boasts a disco- compilations. On a cursory listen, Day Of The Lone Wolf sees esque beat, heavy synths and and as is certainly implied by the Williamson growing ever more extreme danceability, Haines’ vocal title, these intelligent contemporary confident in bending to meet her switching effortlessly from cooing pop songs hint at a confident, self- muse and in her abilities as an in English to quietly murmuring reliant woman negotiating her way artist. Even if this isn’t the album in French. Elsewhere, Ending through a post-Sex In The City to establish her as a major talent, Start veers the furthest from the climate with predatory confidence. all the evidence points to Astrid sprightly pop/rock appeal of the But Williamson’s songs deserve finally having her day in the not- rest of the album; drenched in a more serious consideration and too-distant future. river of reverb, Haines sings “Gave scratching beneath the hide of the Trevor Raggatt Metric them our explosions, reactions, album sees the veneer of the hunter Live It Out all that was ours / for graphs of stripped right back, exposing the Drowned In Sound passion and charts of stars”. The loneliness and solitude of a life  delicate piano, melodious ethereal separated from the comfort and guitar and haunting resonance support of the pack. Suddenly Ah, Metric. Back in their native of the vocals permits the song to the noble hunter seems a little Canada, it’s practically impossible linger and enchant. less majestic, rather more flawed, to meet anyone of a certain age For some fans, Live It Out might dysfunctional and unfulfilled — who hasn’t caught on to the hype not live up to the ‘modern classic’ and perfectly in tune with life in of Emily Haines and her trio of status of Old World Underground..., the urban landscape. musical men. Their debut Old while others may blame the Siamese kicks off proceedings in World Underground, Where Are fervent hype for setting such a muted manner, musing on the You Now? was hugely successful lofty expectations. Whatever. The nature of connection and trust. It’s and earned the band a place in the fact remains that this is another just a little too reminiscent of Laura hearts of young hipsters all over undeniably well-crafted piece of Veirs’ Galaxies but sets the ensuing the nation. Live It Out, the much- work that, at its best, will rock your emotional tone quite nicely. But anticipated follow-up was released clothes off. Turn up the speakers, not just yet; the wistfully uplifting Nouvelle Vague last year, attracting the attention put on your dancing footwear, and Superman 2 (the sequel to a song Bande À Part of British indie label Drowned In for goodness sake, hang on to your on her previous album) bursts into Peacefrog  Sound (home to fellow Canuck trousers! Lisa Komorowska life after a brief string intro, driven ½ Martha Wainwright) who are along by fluid piano and charming issuing this UK edition. Right out Wurlitzer. Like Lois Lane jumping Nouvelle Vague’s self-titled of the starting blocks it’s clear into Niagara Falls on faith in her debut was a spectacular bossa that Live It Out is fantastically hero alone, Williamson concludes nova revamp of some of the diverse, blending genres with ease. that sometime it’s best to leap world’s most established new Is it electro-pop? Melodic punk? headlong into love and to hell wave acts. Now the French Distorted garage rock? Eighties with the consequences. Reach collective are back with Bande new wave synth nostalgia? Actual- brings the tone back down with À Part, an original and personal ly, it’s all of them, and even finds bare acoustic guitar showing that take on works by Eighties post- room for some heart-rending Astrid’s no slouch on the six- punk idols such as Bauhaus, piano balladry. Phew! string either, her equally exposed New Order and Echo & The Haines’ presence surely ups the vocal counterpointing Superman Bunnymen. As inspiration for potential for Metric to achieve 2’s veiled optimism. Amaryllis their approachable and seemingly mass idolisation above and beyond continues in a similar vein, her unforced adaptations, the band recognition of her occasional Astrid Williamson half-whispered vocal teetering on cite the gamut of Caribbean contributions to Canadian super- Day Of The Lone Wolf the edges of perception. music from the Forties to the group Broken Social Scene. Her Incarnation/One Little Indian Williamson has often courted Seventies: “Musically it is moving lyrical ability and vocal range — an  controversy with her lyric writing, between Jamaica, the cradle of assortment of throaty whispered but while True Romance’s striking mento music, which became hushes, authoritative roars and It’s been ten long years since couplet “Look at me and think of ska/rocksteady then reggae, to everything in between — perfectly Shetland-born singer Astrid Willi- this / all my tangled hair across the calypso isle of Trinidad via compliments and contrasts with amson struck out on her lonesome, your hips” has been hotly debated, Cuban salsa, Haitian voodoo, the musical backdrop. Building forsaking the safety in numbers the song’s meaning goes far beyond and eventually back to Brazil.” upon, but not exhausting, the afforded by indie duo Goya Dress veiled oral sex references to In keeping with this, we’re beguiling pop/rock sound that in which she provided the lush, explore the twin fires of obsession immediately greeted by the sounds made Old World Underground... so hypnotic vocals. That decade and dependency. Other highlights of birds and splashing water as accessible, Live It Out retains the has seen her put in a number of include the perky Shh… (surely a the band ease into the Bunnymen winning formula for indisputably guest appearances and a pair of future single?), the Brion-esque classic Killing Moon. Soft female catchy crowd-pleasing riffs, yet solo excursions — one on Nude piano etude of the instrumental vocals (courtesy of returning noticeably focuses much more on Records, the other self-produced Carlotta, and the stunning vocalist Mélanie Pain), laid back rocking out with heavier guitars, and distributed through the migh- standout Tonight, a tender and guitar strums and dreamier than thunderous drums, fun solos and ty BMG machine. Day Of The sensitive plea for companionship. dreamy vibes locate the listener in everything feedback. Lone Wolf finds Williamson taking The informal trilogy of Another the heart of the Caribbean jungle, Probably the catchiest song on the DIY route once again under Twisted Thing, Forgive Me and with added mysticism courtesy the album, Monster Hospital begins the auspices of her own label, Only Heaven Knows dares to of a swooning accordion. These with an upbeat, distorted riff that Incarnation, with indie stalwart ask some of life’s bigger nagging musical motifs are much repeated will compel you to subtly headbang One Little Indian taking care of questions (no, not whether throughout the album, including and madly tap your feet. With a sly getting it out there. Brandon Routh makes a better Blondie’s Heart Of Glass — who nod to The Clash, Haines howls “I These days, DIY is no longer Man of Steel than Christopher would have thought that chirping fought the war / but the war won!” necessarily equated with slap- Reeve), the latter bowing out with a birds, South American percussion, amidst a pleasantly simple drum dash bodgery or hissy four-track mixture of cynical resignation and resolving accordion chords and line and creeping high notes. The production. Day Of The Lone Wolf is contentment with circumstance. soothing vocals could actually turn exuberant Handshakes is another as sumptuous an aural experience The lyric “sometimes your beauty this into a genius reconstruction highlight, oozing sarcasm with its as any bigger budget offering suffocates me, but I would gladly of a song?

Summer 2006 65 Other highlights include Billy eyes, she’s gargled it defiantly, — “give me a lover, a bed and controversially, are all men save Idol’s Dancing With Myself, a refusing to be a martyr to ill some gin / I beg the one who’s for sometime vocalist Aimee cheeky rhythmical piece loaded health. Indeed, on the evidence of answering” — delivered with Nash) would probably have fitted with bassy piano and percussion, Pull The Strings, her most desolate, poignancy, believability and soul. in much better, say, fifteen years their bluesy, sexy and full of injured and grim recording yet Doing justice to a Sandy Dillon ago. Refer to the title track and attitude take on The Cramps’ (and that’s saying something!), album is an impossible task; like Always Mine for two obvious Human Fly, and Visage’s Fade To truly the woman could unseat the the music itself, it takes a lot of examples if you don’t just believe New Albums Grey, a melancholic sea voyage four horsemen and circumvent perseverance, repeated listens and everything you read. Yes, this riddled with weepy accordion. the apocalypse. Of course, some an open mind, and you may still debut offering is mostly disguised But whilst these and most of the people would rather listen to a end up not knowing what to make as ‘proper indie’, even featuring a remakes sound texturally layered symphony of air raid sirens than of it. Certainly, those who are faint cameo by Ride’s Mark Gardener, and innovative, The Wake’s O to Dillon’s serrated, half-strangled of heart should steer clear, but no less, meaning I had to listen Pamela seems hastily arranged vocals, but frankly that’s their loss. if you’re the sort who worships to it at least three times before I and would have benefitted from The sheer feral beauty and menace Captain Beefheart, Tom Waits or could even begin to appreciate it. the use of more natural sounding at work here adds a sometimes just loves a challenge, there’s much After which, it was gathered that instruments. Heaven 17’s Let Me exquisite, always interesting to enjoy here. It’s a little over-long, the word ‘disguised’ is particularly Go also suffers from a standard texture that’s totally unique. however, and making it to the apt. Because, once you chomp past arrangement and the strings sound Of the many moods and dense conclusion of Carnival Of Dreams the somewhat indigestible and a bit overproduced. emotions captured throughout, the in just one sitting guarantees an rather bland exoskeleton of self- Giving a nice twist to the tale, one that resonates most clearly is a arduous listen. That said, in the proclaimed psychedelia moulded the brains behind the brand longing for escape — escape from triumph over adversity stakes, into the start of the album, you are (namely Marc Collin and Olivier loneliness, escape into death, you it’s a truly remarkable statement rewarded with something much Libaux) only allow their vocalists name it. Though it may not sound from one of our finest, most more worthy of your pennies. to perform songs entirely new to like it on first listen, the vibrant uncompromising artists. So while the unavoidable instr- them, thereby ensuring that any and sinisterly sexual title track is Alan Pedder umentals shamelessly appear to breach of sanctitude claimed by actually a manifesto of atonement boast more of laziness than of their detractors is most often to the (wo)man upstairs. Joined creativity — the few lyrics that the result of their own prejudice. on vocals by Alabama 3’s growly were thrown in justify this, even If you like the sound of Blue Robert Love, Dillon’s third-person admitting “ain’t got a lot to say” Monday sung in soothing female tale of repentance becomes more — glowing treats from the melodic vocals with a heavy French accent akin to what the sound of mating and upbeat Straight Through You (Pain again) accompanied by an basilisks must be like — full- to the aggressive Cobain-esque armoury of colourful instruments, blooded, throaty and raw above vocal of first single Hi-Skies and this album is for you. all else. the sweeping stoner lust of The Anja McCloskey The jaunty but creepy Documents Beatles crossed with The Vines- and Dillon’s remarkable turn on inspired tracks like Slowdown Over My Head are similarly sultry, and Chasing Us Under, make for while the raucous I Fell In Love is a much more convincing dynamic. a darkly humorous swamp-blues Indeed, the phrase “saved by the stomper that returns her to the The Morning After Girls bell” comes to mind. glass-eating Bessie Smith-inspired Shadows Evolve Though by no means a unique sound of her One Little Indian Best Before specimen, The Morning After debut, Electric Chair (1999). That  Girls are worth checking out as she howls and wails as if having a they pimp their noisy wares at the grand mal seizure is really all just Their press release will tell you festivals this summer, if only to part of the fun. that The Morning After Girls’ “… hear what they are under-rated for. Anyone who has followed Dillon’s hazy melodies pull you right into Like uncovering a rare fossil of the career will know that for all her the world of the morning after — a long-forgotten time when Damon impressive vocal extremities, moment they characterise by a Albarn sported a bowl cut, blow her real forte lies in torch song dreamy grogginess, a dischord of off the dusty bits and you’ll no Sandy Dillon balladry. Fortunately, Pull The transient yet striking memories doubt get excited. Anna Claxton Pull The Strings Strings does not disappoint on that and sounds, nostalgia; a yearning One Little Indian front either, from the traditional to go back to last night…” Or, ½ number Motherless Children and depending on your taste, just to the sumptuous cover of Hoagy stick your head in a toilet. For over twenty years, the career Carmichael’s jazz standard Balti- But seriously, The Morning of Sandy Dillon has been one more Oriole to the exhausting, After Girls are regarded by some hell of a frightening fairground occasionally morbid but beautiful as yet another entry in a long line and somewhere along the line tributes to her husband (Enter The of fashionable faux-New York our gravel-voiced heroine must Flame, Wedding Night) and her own bands who emulate Lou Reed; have smashed an entire hall of lost innocence (Play With Ruth, hard-working but perhaps a little mirrors, such has been her god- Broken Promises). over-hyped. So what the musical awful luck. Incredibly, even her Throughout these heartfelt offspring of these five Aussies earlier struggles — two shelved weepies run subtle flourishes of really sounds like is initially not albums and a terminated contract organ, electric piano and softly so cool (at least, not in my book), with Elektra — pale in comparison brushed snare, not to mention taking us back to the shoegaze era Camera Obscura with the trials of the last five musical saw for that added tearjerk with startling precision, where Let’s Get Out Of This Country years. After losing her beloved factor. Dillon even wheels out a one must keep an eye out for The Elefant husband and musical partner to harmonium on Why?, a sweetly- Charlatan-osaurus sniffing a Stone  a heart attack in 2001, Dillon has sung duet (again with Robert Rose on a kind of Happy Monday, battled with cervical cancer and a Love) that’s almost vaudevillian whilst all team members probably The habitual comparisons with terrifying ordeal with the MRSA and slightly but nicely cheesy. dye their hair black in the name fellow Scots Belle & Sebastian superbug. That’s a lot of black cats Who’s Answering follows the theme of über-chic and have definitely seem somewhat overstated when crossing hundreds of paths, each of accepting destiny as Dillon listened to the noisier bits of The listening to this, the fourth full- one dusted with a tonne of spilled implores whoever or whatever Dandy Warhols. length album from Glaswegian salt, but instead of slinging it over lies beyond the grave to see her OK, so you get the idea that sextet Camera Obscura, fronted her left shoulder into Beelzebub’s in safely and with a little comfort The Morning After Girls (who, by Traceyanne Campbell (no rela-

66 Wears the Trousers magazine New Albums New

tion to Isobel). Although there are have really hit their stride — not walk, and each one merges into pop, with an added edge of alt- occasional hints of the distinctive just unafraid to explore different the next in a below-par mélange of ernative country. That she does B&S indie-pop sound here and eras and styles, but mastering each gently strummed or picked guitar, this without ever sacrificing her there, Let’s Get Out Of This Country of them. Stephanie Heney brushed percussion and upright integrity or losing her distinct- is so much more than imitation. In piano. The songs aren’t bad; Zeros iveness to lowest common denom- fact, the listener is treated, tour has a breezy Sunday morning feel inator slush deserves particular guide-style, to a veritable history behind it’s cod-philosophy lyric, praise. Hole In The Heart sets of pop music. Room In The City uses repetition things off in an ominous minor key There are moments of pure pop well to enhance its momentum with regrets and reminiscences of breeziness on first single and and Drunk By Noon winds its way a life that’s been frittered away, album opener Lloyd, I’m Ready To through your mind in a passable before the single I’m Gonna Do Be Heartbroken, a song written in imitation of solo Kristin Hersh, It All lovingly lightens the tone answer to the final track on Lloyd but nothing reaches out and grabs with a wistful, charming reverie Cole’s classic debut, Rattlesnakes you. There’s no eureka moment of hopes and aspirations (though (1984), and again on the title that raises the hairs on your it’s hard to imagine her swearing track, where St Etienne’s catchier arms, no careful turn of phrase or so loud she’ll “strip the silver sunshine moments are emulated sparkling change of pace that sets lining from a cloud”). Even by the well. Indeed, the witty lyrics and her aside from the pack. towering standards of Polwart’s upbeat mood recall a female- Despite several weeks of listening, sensitive songwriting, it’s an fronted Divine Comedy covering Birdie Busch willing myself to sing along and absolute gem. Cole himself in his prime. However, The Ways We Try be impressed, I can’t honestly say Many of her songs draw on the real beauty here lies in the Bar/None that any of the material on The Judaeo-Christian imagery but lounge country sway elements  Ways We Try has stuck. I don’t never fall into the mantrap of the album where the pace is find myself humming The Cup’s marked ‘didactic’, instead using slower and more bittersweet. Dory As another in a long line of harmonica line on my way to these ancient stories to ground Previn and the French waltz of The songwriters working on the prem- work, despite it probably being her songs deep in folklore and False Contender are enchanting ise that her homemade brand of the most memorable melody. If I history. Only on Holy Moses and have the wistful qualities of acoustic vignettes on love and life stumbled across Miss Busch in the does she deal direct, using the a last dance with their unhurried will strike a chord with a wider aforementioned coffee emporium, Patriarch as a metaphor for melodies and sophisticated folk- audience, Emily ‘Birdie’ Busch I’d be pleased with the temporary the ability of the human spirit pop tenderness. We’re transported enters the fray fresh from the release from my daily chores, to rise above expectation and to an abandoned, creaky back Philadelphia coffeehouse circuit. applaud in the appropriate places circumstance to achieve a destiny porch where timeless themes After completing a range of strug- and thank her when she’d finished, as yet unknown. It’s a cute little of longing and lost love are all gling artist jobs, Birdie realised but I wouldn’t necessarily want touch that the music meanders encompassing. there was something else she was her CD. Unless I had an elevator beneath like the river that ferried Fittingly, everything goes back in born to do, after which it appears to paint. Must try harder. the baby to safety. time to the retro high school prom she picked up a guitar, took to it Paul Woodgate The frankly chilling Baleerie queen heartbreak of Come Back like a native and voila, the benefit Baloo, however, is a very different Margaret. With its clever doo- of her somewhat naïve musings are proposition. Mixing the ancient wop production that could quite available to those looking for the and modern, it’s a moving tribute believably have been recorded by next 21st Century troubadouress. If to missionary Jane Haining who Connie Francis, a saccharine tune only all career moves were so easy! died in Auschwitz along with the right out of the Fifties accompanies So, what does the Philly filly have Jewish orphans she had cared innocent lyrics of despair and to offer? for in Budapest. The ‘crimes’ teenage dramas. Further vintage Well, it’s much as you’d expect. for which she was imprisoned melodies are explored with The There’s an innocence to these included weeping whilst sewing Supremes-esque sound of I Need simply structured melodies and the compulsory Star of David onto All The Friends I Can Get, a full on arrangements; Busch floats throu- the children’s clothes. charming disco number complete gh songs like a seed that’s caught Terminal Star delves deeper into with hand claps and tambourines. the wind, happy to be carried the dignity of an unsung hero, In terms of emulating older styles, in any direction as long as the while Take Its Own Time employs nothing quite tops If Looks Could destination is America’s west coast an interesting horticultural Kill, a song that lodges in your head circa 1967. Unfortunately, ‘67 was Karine Polwart metaphor; the gardener who Scribbled In Chalk and refuses to budge, cramming a long time ago; the naivete of delights in letting parts of their Spit & Polish in everything that made those the artists that gathered in Laurel  garden be planned by nature Phil Spector-produced Ronettes Canyon to change the world rather than design suggesting that classics so great, right down to the with six strings and multi-part Karine Polwart has been no we might do better to hold onto glorious Wall of Sound and organ harmonies was truly a snapshot of stranger to applause since quitting our troubles more lightly. The accompaniment. its time and Busch is strictly little her day job as a women’s issues track also features some delightful It’s a testament to Camera league in comparison. Then again, campaigner. Her first album accordion from Inge Thomson, Obscura’s songwriting talents that perhaps the comparison is simply Faultlines cleaned up at last year’s weaving pastoral melodies around such a collection of retro styles can unfair; the world is an uglier place Radio 2 Folk Awards and won many the chords. still sound so fresh and vibrant. in 2006 and the odd moment of critical plaudits. The question is, Follow The Heron closes the Not content with simple pop happy-go-lucky sing-song is a can Scribbled In Chalk live up to album in contemplative style, sweetness, the band tackle sombre welcome break from the daily already stellar expectations? I’m ‘covering’ a song of Polwart’s own themes of broken relationships routine, but the music still needs glad to report that the answer is making (it was originally recorded and lonely yearning for romance to be memorable at least. an unequivocal yes. Polwart has by the band Malinky, with whom and love. The closing track, Razzle I’d like to say that the songs turned in a charming and affecting she has collaborated in the past). Dazzle Rose, is a beautiful farewell benefit from a long gestation collection of folk songs equally But then, in the instant that the that sounds like it was recorded in period, the culmination of ideas capable of raising a grin as they final notes fade, Polwart cannot a deserted ballroom. Tracyanne’s and experiences that stretch are of moistening eyes, running help but render a falsehood haunting Julee Cruise-like vocals back years, but it’s difficult to say the gamut from mountaintop — these songs are by no means perfectly express the ghostly whether this is the case, or whether expressions of joy to the murkiest ephemeral scribbles that vanish atmosphere and a trumpet solo Birdie knocked the album out in an teatimes of the human soul. with the first drop of rain, they are rounds up the magical history tour. evening session at Starbucks. The Stylistically, Polwart confidently instead small treasures that, once Far from under-achievers, Camera songs rarely rise above pleasant, straddles the line between mod- heard, are not easily forgotten. Obscura sound like a band who the pace rarely above a Sunday ern folk and contemporary adult Trevor Raggatt

Summer 2006 67 allowing RobinElla to emote toy piano, a saw — nothing about formerly the drummer for New without pretense. this album is ‘simple’. Each sound Radiant Storm King. Having tried Indeed, those wondering where is perfectly placed, each change her luck signed to Too Pure for the catch is will be pleasantly in mood a natural movement and 2003’s The Exorcist, Sharp returned surprised. This is great stuff to the each song paying compliment to to her DIY roots for last year’s last; I Fall In Love As Much As I Can is its predecessor. excellent The After After Party Party a fitting farewell, evoking thoughts My Mother sounds like a spell EP and she’s clearly still in her New Albums of Ella Fitzgerald serenading being cast; vocals circle round element. Considering the intricacy passengers on a Mississippi gorgeous strings and a bewildering of the drum lines and guitar parts, steamer, muted brass and woozy narrative, which then trickles into not to mention the suited American fiddle intact. Solace… has humour, the equally ethereal Know Your rasp behind each song, this self- grace and diversity in spades; most Demons — a dark, yet strangely made musical achievement is importantly, it also has a voice uplifting number, full of haunting exactly that, and a revelation to RobinElla that truly deserves to be heard. pedal organ and piano as the boot. This is no antifolk record; Solace For The Lonely If you’re lonesome tonight then vocals chant “know your demons Sharp has venom and hatred so Dualtone  don’t be; share the RobinElla love! as they know you, wherever they pure that she propels herself away ½ Paul Woodgate go you’re bound to”. Without you from that scene entirely and into a The music of Baptist choir- even realising it, The Tiny will league of her own. leader’s daughter RobinElla has excise you completely from your To fully appreciate this record, been variously described as con- earthly surrounds. it’s necessary to understand the taining touches of jazz, pop, funk Ed Harcourt makes an appearance history surrounding ‘the siege of and soul, but from the opening on Sorry, oddly sounding almost Chicago’. Like The Doors and MC5 acoustics of Break It Down Baby more natural here than on his before her, Sharp has focused and the drawled out Hey, the own compositions, while talented on the after effects of the 1968 genre that strikes you most is Norwegian songstress Ane Brun National Democratic Convention country. But this is neither the contributes backing vocals to a where pro-war Hubert H. trad Dolly Parton-isms beloved of number of tracks. Elsewhere, the Humphrey and anti-war Eugene conservative America nor pop-lite arrangements vary wildly from McCarthy were both campaigning C&W, this is the sound of steamy, upbeat, fast-paced tracks like for a nomination to become the swamp-fuelled Tennessean nights Dirty Frames to the more stripped country’s next President during conjured by the likes of Lucinda down sketches of Everything Is Free the Vietnam War. The vote was Williams and Tift Merritt. The Tiny — surely the most unusual cover arguably rigged for Humphrey RobinElla’s potent blend of nasal Starring; Someone Like You of a Gillian Welch tune ever — and to win, which he did, and the Appalachia suckers you right DetErM ine/V2 In Reality. McCarthy voters and peace in, her characterful voice full of  At its quietest, Starring... is as activists protested. The confusion experience and sounding like a intimate as a whispered confession that followed is highlighted in Two cross between Alannah Myles and Although preconceptions of yet and almost unbearably lovely. At Party System through grinding Abra Moore. another Swedish band hitting the its most energetic, it’s full of life, guitar loops and lyrics that don’t Truly kicking into gear by track market are probably rife, unlike full of colour and bursting with pull punches (“we’ve all been number three, Solace For The many of their counterparts, The character. The dynamics work fucked by the two party system” Lonely rarely fumbles the charm Tiny have recorded an album unbelievably well, the ups and being a prime example). thereafter, yielding deceptively that will surprise even the most downs maintaining interest and This feeling of wrongdoing simple sounding melodies that clued-up music fan. Bearing in continuing to enchant right until towards the people and popular ultimately reveal hidden and mind their intention to make a the very last moments of final culture of America is a recurring wonderful depths. A slow-burning record that’s “grandiose and true number My Greatest Fear, perhaps theme, although Sharp concen- ode to religion and family, Press to life in a cinematic way, taking their most spellbinding moment. trates on the hypocrisy of On builds over insistent tom each idea to a new level whilst Going back to the blueprint, it’s musicians and their fans in the toms and hushed keyboards still keeping our tiny personal clear that their goal has been other songs. Opener Too Much into something quite magical, identity”, one thing becomes attained. Cinematic in the way Sucky (I Hate Drum Machines) while the decidedly jaunty Down immediately obvious: The Tiny it creates an entire new world, throws references to Devo into The Mountain picks up the pace, write for no one but themselves. both grandiose and simple, and the mix and shapes some crazy, propelled by train rhythm brushes The initial and most poignant undoubtedly unique, Starring... conservative musician screaming and RobinElla’s vocals a friendly charm of Starring; Someone Like marks the beginning of an exciting over bass-heavy riffs worthy of guide between the stations. With You lies in its sheer authenticity new talent; somewhere between Death From Above 1979 about its unexpected but pleasant mid- — no matter how bizarre the genius and insanity but totally, the influence of new wave in New song change of tempo, Whippin’ songs may become or what may totally brilliant. Rod Thomas York, while New York No Wave Wind is reminiscent of recent Patty be said, there isn’t a second gives a shout out to the antifolk Griffin albums, both in quality and where you don’t believe them. movement. Both New York London tone, though that’s less surprising A trio, The Tiny combine the - Paris and The New You sound when you consider that Solace… childlike but strikingly original like Whirlwind Heat out on the was produced by Griffin’s musical voice of Ellekari with the classical prowl, pickaxe in hand, looking for sidekick Doug Lancio. training and string arrangement the next fresh scenester killing. Elsewhere, Little Boy gives an skills of cellist Leo and double Of course, whether you under- unabashed nod to funk, with bassist Johan. Instead of sticking stand the complicated American flashes of Hammond giving way to a purely orchestral sound, history and the even more to a full-blown organ solo over however, innovative combinations complicated political system is Stevie Wonder-esque electric of sounds flicker between songs not the be all and end all, it simply bass; Oh So Sexy is a nifty little like scenes in a film. Like a makes the songs more interesting bar anthem about the universal candlelit journey through a fairy- and adds value to Sharp’s human affliction that is the ability tale forest, god only knows what lyrics. The music itself, with its to view our drinking buddies as is going to happen next. The continuous thump and ingenious relationship material once we’re unpretentiousness of the song Ill Ease post-grunge structure is ample Miami & The Siege Of Chicago EP three sheets to the wind. Shanty titles and simplicity of the language enough evidence to make this a Teardrops Ohayo Records waltz is another gem used are designed to lure you into  priority on your ever burgeoning of excellent musicianship from a a false sense of security. For while ‘to get’ list. You’ll only be shaming tight band that understands the effectively elementary instruments Ill Ease is the project of Brooklyn- yourself if you don’t. value of space between the music, are put to good use — strings, a based musician Elizabeth Sharp, Tiffany Daniels

68 Wears the Trousers magazine New Albums New

in 1965, such is the authenticity projected through Rose, Gwenno and Becki’s crystal clear vocals, arrangements, ooohs and ahhhs. Old favourites like ABC and It Hurts To See You Dance So Well maintain their dancefloor magnetism, as do newer songs like recent hit Pull Shapes, a command so brilliant that it cannot be resisted. Though their performances are wonderfully up- lifting throughout, the band don’t shirk on the adolescent tinges of naivety and sadness that really capture the spirit of the girl group era. What The Pipettes bring fresh to the party is a distinctly British twist on the sound, their southern accents ringing with a nicely com- forting familiarity. If nitpick we must, there are The Pipettes points on the album where the We Are The Pipettes fine line between pop perfection Memphis Industries and overplayed kitsch is in danger  of being traversed. Creating a modern twist on the girl group When The Pipettes first appeared girl groups — from their self-styled such fans ought to find it in their era need not have entailed some on the stages of London and svengali (guitarist ‘Monster’ Bobby) hearts to forgive them; We Are The of the tackier sound effects, Brighton’s grubbiest pubs and clubs to the contemporary Wall of Sound Pipettes positively shimmers with a evident on the titular theme song two years ago, not many people production, via coordinated outfits real sense of accomplishment, the and Pull Shapes’ canned applause, could in all honesty imagine they’d and dance moves. more polished production serving while the sometimes overly glossy be releasing their debut album and For those who eagerly collected to bolster the seriousness with production makes the songs seem playing sold out theatres across the hard-to-find vinyls and wit- which the band have tackled their a little less personal. However, the country. The band fought nessed the earlier live shows, a concept, certainly in comparison these are small criticisms of an dismissive slurs of ‘novelty band’, first listen to the album might be with those early recordings. otherwise excellent album on ‘kitsch’ and ‘unmarketable’ and hard to swallow. The tinny sound The Pipettes, you see, possess which every song is worthy of simply kept touring and releasing of their demos has been replaced a knack for writing classic pop being a single. If the girls can pop gems on limited-pressing 7” by luscious synths and sound songs. Of the fourteen tracks, at find a way to progress without vinyls. As such, We Are The Pipettes effects, and some of the organic least nine might find older listeners becoming a parody, this exciting arrives as the product of the hard- DIY charm has been compromised questioning themselves over wh- debut could be the beginning of a won realisation of their ambitions in favour of a more consistent ether they might have gotten long and sparkling career. to replicate the essence of Sixties sound. On second listen, however, down to it at a town hall disco Robbie de Santos

Reprieve’s closest cousin is arresting moments of her career, 2004’s self-played, self-produced You Had Time, a song that emerges Ani DiFranco Educated Guess, but whereas out of nowhere, a meandering Reprieve that record had a swagger that piano intro that eventually finds Righteous Babe reflected DiFranco’s freedom in its way into a melody. A similar  the studio, Reprieve is altogether technique is used here, the sound a more considered affair. The of the artist working out a way to ghost of Hurricane Katrina articulate an emotion she’s not hangs over proceedings, having entirely comfortable with: “you famously halted the recording were no picnic / and you were no sessions when the resulting prize / but you had just enough floods damaged her New Orleans pathos / to keep me hypnotized”. studio. Forced to decamp to her It makes for a sombre opening The Chemical Brothers once said other home in Buffalo, New but, to quote Joni Mitchell, there’s of Beth Orton that if your soul York, DiFranco found herself comfort in melancholy. could sing, she is what it would continuing the recording on an Reprieve is perhaps DiFranco’s sound like. By this reckoning, old synthesiser. most cohesive record to date, never Ani DiFranco is like the voice in The resulting album resonates really feeling the need to shift out the back of your head, not always as an unwitting tribute to the of its plaintive mood, which is telling you things you want to hear dislocation felt by the millions both good and bad. Aside from the but telling it like it is nonetheless, affected by the tragedy. Though fantastic Half-Assed, surely soon and this time perhaps more than it’s not explicitly referenced, to be regarded as an Ani classic, ever she means business. “I ain’t aside from the oddly prophetic there is little here to truly stir you in the best shape / that I’ve ever Millennium Theater which ends on out of your seat. Perhaps I miss been in / but I know where I’m the line “New Orleans bides her the band. Perhaps I miss the point. going / and it ain’t where I’ve time” (the material was written Check out righteousbabe.com for been,” she sings on Subconscious. long before the hurricane hit), an explanation of the cover art and As always with DiFranco, it’s a lines like “the stars are going out a clearer idea of what she’s trying believable manifesto, one that / and the stripes are getting bent” to say. For now though, there may takes on extra resonance with the (Decree) seem to say it all. not be much time for dancing but recent announcement of her first Elsewhere, much of the album is Ani DiFranco is still standing, still pregnancy. Sonically, however, classic DiFranco. Opening track, singing and that, for us, is the most we’re in familiar surroundings. Hypnotize, recalls one of the most important thing. Matthew Hall

Summer 2006 69 it was over-produced and that KT Tunstall some of Tunstall’s true character KT Tunstall’s was suppressed and sacrificed at Acoustic Extravaganza the altar of commerciality. Here, EMI that balance is nicely redressed and the rawness of KT’s talent is  allowed to shine out with minimal New Albums post-production to obscure it. The clear advantage of taking a band straight off a world tour and recording them live in intimate surroundings is the lingering presence of musical ESP between them and that spirit really comes across. Producer Steve Osborne has also done a great job of capturing the sessions, while Tunstall’s singing is as soulful, gutsy and smoky as one would have anticipated Of course, all that is rather irrel- evant if the songs themselves aren’t up to much. There’s no worries on that score, however. The eight ‘new’ songs (Gone To The Dogs and Change originally appeared on her self-released al- bum, 2000’s Tracks In July) are uniformly strong, while the songs chosen from Eye To The Telescope are perhaps less obvious, neatly avoiding any of the singles yet well worthy of inclusion. Ashes, an obscene love song of the “can’t live with you, can’t kill you” variety kicks off proceedings with verve in loping acoustic country style. Girl & The Ghost and One Day are more recognisably Tunstall and immediately likeable – in an alternative reality either would make a sweet little single. Golden Age contains echoes of Sheryl Crow’s Over You in its feel and harmonies, while Boo Hoo goes country blues on us, breaking out the slide guitar and Hammond organ. Throw Me A Rope, which first appeared on the pre-fame False Alarm EP, closes out the album in lovely stripped-down fashion. So, is ...Acoustic Extravaganza a better album than Eye To The Telescope? Probably not, but it does give a glimpse into a rawer, musically more honest side to Tunstall and should be considered a must for fans. It surely won’t be long before the tracks included The acoustic/live session version Tunstall’s Acoustic Extravaganza as planned. As she states during here become firm favourites among of a mainstream but ‘credible’ with precisely the same cynical the making-of documentary ‘Five her appreciative throng, while the artist’s best-selling album is fast view. In fact, watching the Go To Skye’, “We all decided DVD portion provides interesting becoming a useful marketing documentaries on this double last night that, instead of doing insights into both the artist and tool (or dare we say it, cash-in) CD/DVD package (available the album remake, we’re going the creative process. The outtakes for record companies looking exclusively through Tunstall’s to do something a little more reel and a fun feature on her now to maintain interest in between own website), there are hints that unorthodox…which is great…and infamous ‘Wee Bastard’ pedal are albums and tours. So we’ve had this might have been just what we’re going to do some B-sides, particularly enjoyable. James Blunt’s fairly inexcusable was on the EMI shareholders’ and a couple of new songs…so Perhaps it would have been nice The Bedlam Sessions, Maroon 5’s Christmas wishlist when the we’ve got quite a crazy little setlist to see some more web content in- post-Songs About Jane acoustic live project was first mooted. Plans that we didn’t expect”. Well, Wears cluded, such as the solo recording CD and the list goes on and on. were made and a couple of days The Trousers rolls up its denims of Black Horse & The Cherry Tree, Invariably, the resulting product is were duly booked at the stub end and yells “viva la revolution!” for or to bundle in the videos from just that — product with a capital of 2005 in a tiny studio on the the end result is something much the singles. But that’s just being P, a marketing expedience rather Isle of Skye. more worthwhile. greedy! As it is, ...Extravaganza is than a creative experience. Happily, Tunstall’s own cheekily Although Eye To The Telescope a refreshing and lovingly crafted Jaded as we are then, it would be subversive streak meant that was certainly one of the revelations treat for eyes and ears. almost too easy to approach KT corporate plans didn’t go quite of 2005, many maintain that Trevor Raggatt

70 Wears the Trousers magazine New Albums New

any other production style would here, but the more straight-edged seem entirely wrong. The lo-fi listener who isn’t into haute homemade quality is intrinsic couture music and requires a to the Kimya Dawson ethos; on background to their random hip Loose Lips, when a whole host of thrusts and mechanical arms may voices join Kimya for the chorus, well find this debut album too it matters less that some of them much or, equally, too little to get are out of time than that they excited about. sound like a gang of friends having With their roots running deep a good time. Technical virtuosity within the sleazy urban fashion is not the point; besides, the lyrics scene, it’s surely no coincidence take centre stage to their musical that the trio’s name is twinned base — consistently her trusty with a universally renowned Kat Flint Kimya Dawson acoustic guitar. hair product (no plug intended). The Secret Boys Club EP Remember That I Love You Occasionally, the album makes Their reasons for changing it Naz Recordin gs K Records for frustrating listening. When were presumably legal, but who  ½ I Like Giants turns into a paean knows. It’s apt and that is all. to a friend of Kimya’s called That they hail from Sweden is In case you haven’t discovered Sometimes she’s your best friend Geneviève, if you don’t know hardly surprising; the country has her yet, believe me when I say that cooing softly into your ear; who that is (and I don’t) it can a proven track record in spawning Kat Flint is a rare and wonderful sometimes she’s a street loon feel like you’re on the outside of ice cool throwbacks proud to have find; recently awarded the New babbling on while you nervously a private joke, or listening in on missed their true genre generation Lyricist Award by Channel 4, her back away; both stand-up banter that goes over your head. by decades, somehow managing lyrics are beautifully crafted to comedienne and tragic heroine, But on the whole this is a very to pull off all the shots that their speak of the dangers and joys of on-hiatus Moldy Peach Kimya charming album, and this is the forerunners did but with twice modern life. The Secret Boys Club Dawson comes at you uncensored only place on the record where the effect — The Raveonettes and EP is released through Rough and unapologetic. Certainly, she witty irreverent humour becomes The Peepshows being particularly Trade Shops and is doing very doesn’t flinch at penning lyrics irksome silliness. apt examples. well indeed, deservedly topping that other artists might shy away For better or worse, Kimya Beneath the breathily suggestive the sales of even major artists from for being too extreme, Dawson is unafraid to pour her vocals of serial heartbreakers such as Arctic Monkeys and too brazenly political and — heart onto the page and for that Maria Eilersen and Åsa Cederqvist Dirty Pretty Things. particularly here on her fifth solo she should be saluted. Remember lies the random guttural urges Flint has the same vocal presence record in four years — a little too That I Love You veers from and robotic tampering of Nandor as every great female solo artist; close to home. political idealism (when Kimya Hegedüs and his vast array of perfect and simultaneously uni- My Mom is a deeply personal and rails against George Bush on Loose machines. Listen once and you’re que. Her songs, rightfully des- affecting song that sounds like a Lips) to surreal humour and truly dropped behind the gleaming cribed as “a love letter to the diary transcript — you almost feel affecting personal revelations, eye of a high-powered filter lens children we were, the adults we guilty for listening, earwigging often in the course of one song, peering down the inner sanctum become and the places we make on her private thoughts. There but its voice is always honest of a smoky club draped with for ourselves in the world”, are is something entirely childlike and brave. This is an empathetic, bastard fashion art and futuristic deliciously nostalgic, craving the about Dawson’s description of comforting record whose aims lightning; at the far end, there’s innocence we had when we were her mother’s illness that conveys are summed up in the lyrics of a catwalk down which the two but young ‘uns. how difficult it is to deal with the Competition: “Different voices, women strut and point and rack That said, it’s not simply fanciful sickness and impending death different tones / All saying that up the heat. This is the beauty whimsy either. Flint is smart of a parent, regardless of our we’re not alone.” of Revl9n in all its grandeur — enough to realise that we may be age. Such events bring out the Danny Weddup straight out of the glossy pages, able to look to the past, but we’re bewildered child within everyone, ragged and overtly horny. constantly shuffling forward. and it’s this child that sings “And Listen again, however, and the Anticlimax neatly surmises the there’s something in her blood / constant club thumps, rhythmical EP’s spirit with the admirably And there’s something in her leg pouting, sometimes ill-advised economical lyrics, “because all I / And there’s something in her samples and old-school keyboard need is time, to grow up, to grow brain / My mom’s sick, she’s in a riffing begin to wear thin — the forward and to grow wise”. hospital bed”. This topic recurs fabric frays, the heels break off Opener Fearsome Crowd, arg- elsewhere on the record; on and the fur coat whips around uably Flint’s masterpiece thus far, Caving In, Dawson attempts to and stings you on your peachy, is a paranoid tale of love, childhood imagine the death of her mother bronzed butt. Maybe it’s just and surviving both, while Ohio and the subsequent dissolution of that something’s gotten lost in tells of the more sinister side of her family in an attempt to cope translation with high-camp, modern life, recounting a tale better when the event arrives. cheesy lines like “I feel super of prostitution in junkyards. Dawson’s interest in personal fantastic / I feel fucking fantastic”, Elsewhere, Headrush finds Flint tragedy is not a self-involved but whatever it is, the album just pleading for the Apocalypse, while one, however; on 12.26 the view Revl9n doesn’t front up enough genuine The Blinking and London Lullaby expands and Kimya places herself Revl9n likeability to be the new black/ make for an engaging pair of in the shoes, or the bare feet, of Because brown/taupe etc. bitterly honest ballads. a tsunami survivor who has lost ½ Being out of your mind on club Magical is often an over- literally everything. The song is drugs may be what’s required to used description in the musical a heartfelt elegy that analyses Revl9n (originally named and enjoy this album as its makers world, but it truly applies to this the world-wide response to the still pronounced ‘Revlon 9’) make intended. Lyrics like “I’m on my particular lady. Ironically, despite 2004 Boxing Day disaster and dirty disco death karaoke with knees / I’m dripping wet / I tie the indie uprising of recent years, damns American complacency leather boots, glitter and tiny, you down / I kinda feel forced / It her category has been partially and selfishness: “We’d have 12.26 cheap, fantastic drum machines, feels so good” are ridiculous and ignored and similar talents tattooed across our foreheads / If packing in enough appeal for any laughable otherwise. dropped by labels; if The Secret something this atrocious happened frustrated gyrating scenester to All in all, Revl9n may have Boys Club EP is similarly ignored, on our coast instead.” get their filed polished teeth into. muscles but for now they’re only it would be a criminal offence. Remember That I Love You may Those who like to bask in the flexing them. Next time let’s see Don’t let it happen. be a rough, ramshackle and under- raw musical power of a dominant some sweat on those thighs. Tiffany Daniels produced record, but somehow woman will find much to enjoy Gary Munday

Summer 2006 71 his own deranged whisperings of enough a radio hit that Obernik looking for an album to impress the capital’s majesty. Musically, struck upon the idea to combine your friends this summer, kick off the song possesses a climate all her guitar-based songwriting your dancefloor heels and take of its own, with a saxophone solo abilities with her dance scene an i-podiatry shuffle through the so richly textured that it feels as success. Enter Tommy D, a DJ, Barefoot experience. though you could step inside the producer and songwriter famous Stephen Collings scenario and find the afternoon for his work with the likes of Kylie, New Albums sunshine streaming through slat- Janet Jackson, Catatonia, KT ted blinds and a chrome fan ticking Tunstall and Corinne Bailey Rae, in the background, hardly moving to name but more than a few. One the hot, sticky air. evening and a bottle of wine later, Despite its glorious lyrics about Obernik and Tommy D conceived being unable to awake from the idea of reinterpreting their Sylvie Lewis “daydreams of blue roses you favourite club anthems and Tangos & Tantrums used to bring”, Love Songs is a Barefoot was born. Cheap Lullaby slight disappointment and New A project like this could easily  York could feasibly be skipped be dismissed as a tongue-in-cheek altogether to get to the fabulous slice of Hoxton postmodernism. Enchanting right from the out- Conversation Piece where Lewis is Even in the late Nineties, Turner set, Tangos & Tantrums boasts a joined in a duet by Richard Swift, Prize winner Jeremy Deller beautiful blend of eccentric music their voices seductively blending orchestrated colliery brass band hall-style backing and a voice in a tale of love punctuated with versions of acid house anthems, Trespassers William that sounds as though its been allusions to war. Valentine’s Day while Radio One sessions often Having classically trained and then eloped slows the pace to a cynical crawl include acoustic reworks of Nettwerk to New Orleans with a bluesy before picking up once again for the dancefloor fillers, like Will  jazz band. Sur-prisingly upbeat delightfully dramatic bit-terness Young’s Hey Ya or Jamie Cullum’s considering its invariably dark of My Rival, inspired by Rudyard Frontin’. Barefoot is more than Let’s get things clear, Trespassers subject matter and melancholic Kipling’s Other Than That, and just a musical curiosity, however, William live with their heads in minor chord leanings, each track the poignant Old Friends, which and the contemporary jazz and a big fluffy cloud. That’s not to is a snapshot of a world that only serves as a fitting finale for the bossa nova stylings recall the say they’re otherworldly — this Lewis seems to inhabit, her sepia- album, as though bidding farewell likes of Nouvelle Vague, Zero particular nimbus definitely toned memories elegantly floating to the listener with promises of a 7 and Morcheeba. Most of the sits within the confines of our along. Fittingly, the sleeve bears far-off reunion. album was recorded live and the atmosphere — nor is it to say no lyrics and is filled instead with If given the attention it surely immediacy of the musicianship that they’re deceiving themselves anecdotes connected with each merits, the sensual, heart-sick works in the album’s favour, taking into thinking they’re better than song, including musings by the world of Sylvie Lewis will transport the songs that extra step further they actually are. Having is far artist and, in one case, a recipe for you back in time and may even away from their over-polished too modest to ever be thought of the cocktail imbibed at the time help you deal with a modern-day origins. Plastered over so many as arrogant. Trespassers William of writing. dilemma or two. Perfect for a lazy bargain basement Asda checkout sound like The Cardigans on By Heart sets the mood of the Sunday or an afternoon when compilations, the word ‘chillout’ tranquilisers, which is a great album perfectly; Wurlitzer, piano you need to take time out from may have lost all meaning, but this thing indeed if you want to relax and percussion chime along the world or perhaps to mend a is more laid back than a lounge and slip into unconsciousness nicely, invoking the feel of a gently wounded heart. Gem Nethersole singer seductress provocatively but not so good first thing in the turning carousel. As the lament draped over a white baby grand. morning when you’re commuting unfurls, Lewis comes to the pain- On the surface the tracklisting down a busy road on the way to ful realisation that, although the reads like an ‘old skool classics’ work. There’s no coffee call in relationship in question is not on CD, from Grandmaster Flash’s sight; these songs will neither stick her terms, she will stay the course White Lines and Crystal Waters in the mind nor wake you from until her beau decides to end it, Gypsy Woman to Underworld’s a slumber. whilst in the interim she learns to Born Slippy and the Run DMC/ Opener Safe, Sound could easily read his every move. Lines such as Jason Nevins mash-up number be paralleled with Broken Social “your eyes are always straying, you one It’s Like That. Aimed at the Scene’s Passport Radio, awash want whatever’s far” form simple Nineties Ibiza crowd who have as it is with echo machines and but jarring contrasts with the swapped the clubs and plastic dreamy guitars. But while singer playful accompaniment. pints of lager (lager, lager) for Anna-Lynne Williams croons Such stunning mini-stories are red wine soirees in their dockside lovingly over the top, she can’t woven throughout the album, apartments, what this album quite match up to Leslie Feist’s tackling different stages of rela- highlights perhaps more than hypnotic whisper. Sadly, it’s all tionships with a distinctly elegant Barefoot anything is that dance music has downhill from there, each track and unusual take on every aspect. Barefoot always boasted a wealth of great unfurling like dribble from your For example, in All His Exes, Lewis Pusspuss tunes beneath layers of pounding snoring mouth. Weakening is so is seemingly possessed by the spirit  beats and sequenced loops. Even vacant you wonder whether the of a Twenties flapper, asserting ubiquitous dancefloor fillers like music is about to disappear into her individuality away from the Concept albums, by their very Mousse T’s Horny are given fresh itself, while the title of Eyes Like titular cast-offs. Many of these nature, are a hit and miss breed. life, with Obernik’s breathy vocals Bottles really speaks for itself. songs are steeped in atmospheric The clue is in the name; if the suiting the brazen lyrics to a, er, T, Elsewhere, Low Point almost melancholy, for example, the concept is a bad one, then the while a seductive bass line coolly succeeds in its mission of becoming waltzing When I Drink. In fact, so album is destined for ridicule as pulses in the background. a table leg to which the listen can often does Lewis discuss drinking an exercise in pretension. How The range of material here is the cling onto, saving them from the and tragedy that if you gave her about a debut album made up of perfect vehicle for Obernik’s vocal imminent impact with the floor. a dobro, more twang in her voice acoustic jazz covers of club, house versatility, but where Barefoot go No One and Matching Weight, and a pair of very delicate cowboy and hip-hop anthems? Never mind from here is anyone’s guess. A however, act like a bat to the boots, she would not be out of the Balearics… here’s Barefoot. debut concept album may have back of the head. The end result place in country music. Promises When singer Sam Obernik limited their future potential, resembles middle-class junkie Of Paris tells the tale of a man performed a Cubano version of It but as far as concepts go it’s an heaven: a polished mahogany who’s liable to drink himself to Just Won’t Do, the Tim Deluxe hit intriguing prospect and one that coffee table, half a cup of nettle ruin and death while believing featuring her vocals, it was large more than delivers. So if you’re tea and an unconscious, neatly-

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dressed ‘O.C.’ watcher lying face Britpop act and is one of the more but is definitely aware of where Nina Persson and the mild kitsch of up on the rug. enjoyable numbers, the vocals let she’s headed. Someone who wants Petula Clark in her heyday. Yet she Trespassers William ultimately the whole thing down. There are to share with you what she’s does it in such a way that it makes prove that too much of a good occasional glimpses of greatness; seen. What she’s seen is sadness you want to stop sobbing into your thing is, well, not so great. There So As A Gentleman You Should Be and hope, sex and confusion, milkshake in favour of doing ‘the are inspired songs here, absolutely, More Polite is a gem with delicate simultaneously powerless and monkey’; this is a collection of it’s just that the comatose effect acoustic guitar and thankfully powerful. Her music is devastating songs made for the cool chicks in of Having in its entirety means brightened-up vocals, but more where it’s touching and uplifting, tight pencil skirts wiggling their that fewer listeners will come often than not the songs are simply heart-wrenchingly human in bums at ne’er-do-well boys named to appreciate the fact. Had the a slightly different version of the the most basic way, but a story Kenickie. Songs with a dignified acoustic guitar been turned up track before. told with a supernatural quality sound that will also appeal to just a little and the sound of waves Essentially, Cocosuma are attem- that belittles all that. Gracefully ladies what lunch. Songs that will dimmed down only slightly, the pting to imitate every successful innocent piano, sitting amidst be cherished, most strikingly, by whole album would have been alternative band in America, but unaffected hushed vocals and anyone who’s ever been in love. saved. As it stands, the only time they always fall backwards into soft orchestration, is wonderfully And been dumped. And, shortly that having Having will be handy is a puddle of their own hush-hush contrasted by a darker attitude, afterwards, had someone drive when you’re finding it hard to nod reject songs. Some of the songs where the likes of Lamb or Ruby past and splash a giant puddle all off. Tiffany Daniels show incredible potential, but to flit between the sombre moodiness over their best diamanté. achieve what they’re truly capable of Gorillaz’s El Mañana and the Upsetting and confusing, yet of, the band are going to have twisting of pretty homemade lo- undeniably refreshing, from the to stop trying so hard to fit in. fi knives into beats that border melancholy “be-bop-a-lula” of Tiffany Daniels on trip-hop; each part of this vast Party and comforting Argyle spectrum illustrated with magical sweater-wearing stroke of the poetry like a modern day spell. head that is This Loneliness, to the Consider me under it. This is pant-flashing mantra It’s All Good, utterly breathtaking stuff and and resigned yet slinky Brenda Lee deserves to be immersed in for cover, Here Comes That Feeling. In quite some time to come. Quite short, each track is a chapter in a simply, a twinkling debut from frighteningly frank journey into beginning to end. Anna Claxton the female psyche, an empowering celebration of grown-up teenage heartache on the outside, pure bubbling neuroses on the innards. Cocosuma Meaning that, by bringing a Pointing Excitedly To The Sky whole new perspective to being Setanta a woman in the Noughties, these ½ seemingly cute ditties, fraught Sol Seppy with determination and extreme The Bells Of 1 2 On Bam! Tululu!, song number femininity, just might not be Grönland two on Cocosuma’s fourth album  for everyone. Still, if any of the Pointing Excitedly To The Sky, above sounds a bit like you, twirl singer Amanda exclaims “I’ve gum round index finger, fluff been Jesus Christ”. Whether or Is Sol Seppy a faerie queen? Did out petticoat and have another not she really believes this is a she make this as a soundtrack to vodka. Rest assured you’re in good question unto itself, but the band’s her magnificent transfiguration? company. Anna Claxton label Setanta clearly think that the I only ask because, from the El Perro Del Mar lyric holds some truth. Either that, atmospheric opener 1 2 onwards, El Perro Del Mar or the band are being used and one cannot help but be enchanted, Memphis Industries abused to launder as much money nay, mesmerised by what has been ½ as possible out of the coffee table achieved here. Often womblike genre, but Pointing... is unlikely to in its comfort, like taking a big Three years ago, a chic-looking filter through to the few-albums- floaty bubble bath with Sigur Swedish girl went on a Spanish a-year demographic. Rós or diving by moonlight to beach holiday when a dog popped The sad truth is it’s nothing the ocean’s murky depths with out of nowhere onto the shore. The special, neither good enough to Stína Nordenstam, The Bells girl, named Sarah, was inspired slot into a prominent shelf on your Of 1 2 heralds the arrival of a by this, went home, worked hard, CD rack nor bad enough to want preternatural talent. wrote an album, swapped a lot of to destroy it and bury the pieces Alas, the faerie bit is a touch of CDRs, got signed to the same label deep underground. In a severe truth economy. Sol Seppy’s alter as The Pipettes and Field Music error of judgement, Cocosuma ego is actually a woman of mere and toured with José González seem to have taken their primary flesh and bone, a woman known and Calexico. I suppose that this Mina Agossi influence from the insidious and as Sophie Michalitsianos, who slightly odd fairy-tale goes a long Well, You Needn’t grating background music found happens to be something of an all- way to explaining exactly what her Candid in Sims games, particularly on the singing monopoly; a woman with project is about. Albeit, of course,  opener, Communication’s Lost. one foot in England and one in Oz, nothing to do with canines. Luckily, it seems that they’ve also who began to write songs when Musically, however, this is a debut Afro-French chanteuse Mina been listening to Azure Ray and she was only five years old, who offering that interestingly mixes Agossi has been making serious Frou Frou, and it’s these elements found time to become a classically the sublime with the unusual. waves on the European jazz circuit that rescue the songs. The Servant trained musician, build her own Because, whilst bittersweet, with her stripped back, to-the- maintains the ongoing theme of studio, tour with Radiohead longing and often alienating, El bone approach to avant-garde jazz. hushed, under-the-breath vocals and make special sounds with Perro Del Mar essentially creates This second album follows hot but attempts, and fails, to diversify Sparklehorse in the U S of A. She’s delicate, minimalist retro-pop on the heels of her well regarded into the electro genre. The under- a multi-faceted and shimmering by blurring a kaleidoscope of debut Zaboum (2005), taking water Casio, or whatever it is creature who seemingly can’t help playground string quartets, gentle further and more confident steps they’ve used, simply doesn’t work. but lay herself bare, capturing the handclaps and Supremes-style along her chosen, and certainly Whilst Sparks has an opening sound of an unpretentious drifter harmonies with the vulnerable somewhat surrealist pathway. guitar riff worthy of any classic who is unsure of where she’s been vocal of a chronically depressed Standards, contemporary covers

Summer 2006 73 and original compositions are all with leanings towards the modern world’s most famous classical we haven’t seen in a long long time. present and each is delivered in and avant-garde forms, this will works a rather outlandish sound. They’re the whole package — look, Agossi’s unmistakable, inimitable be manna from heaven. It really Der König in Thule, also a Schubert moves, old school swing sounds style, and therein lies the rub. is that well done. But a casual composition, embraces the — and through this impressive There’s simply no arguing with listener, including myself, could evanescence of love and life. A dedication to the details, they’ve Mina Agossi’s skill as a jazz singer. find themselves enjoying each rough sounding electric guitar in developed a sizable cult following With such commanding control successive listen less and less. lead melody accompanied by a in the hipper parts of London. New Albums over her warble cords, it’s certain Elements and devices that first softer countermelody sounds at To fully appreciate The Puppini that to watch her and her band added interest soon begin to grate first strangely modern, but after Sisters, you really have to see them perform these songs in a dark, and it’s a real shame. Those in several listens appears effortless- live because they put on a hell of smoky jazz hole would be an the know in the jazz world will ly cool, Foster’s versatile vocal a show. As such, focusing purely experience equal parts exciting, continue to beat a path to the door adding to her straightforward, on the musical aspect was always unsettling and terrifically moving. of Mina Agossi’s concerts and honest adaptation. going to be something of a shaky You’d never quite be sure whether form orderly queues at their local Everything on this album proposition, running the risk the swirls and pulses conjured record stores to get their copies of has been played to emotional of pigeonholing the band as yet would coalesce into perfect, pure her albums. For anyone else with perfection. Foster has clearly been another covers band with a twist jazz or collapse into a trainwreck merely a passing interest in the indulged with complete artistic in the hideously schmaltzy vein of of cacophony, which frankly lighter ends of the jazz spectrum, freedom. It’s refreshing to listen G4 and Il Divo. would be half the attraction. the question remains: should you to delicate and moving songs that But don’t be so quick to dismiss But as has been proven by many buy this album for your listening have not been pushed to alien- them; Betcha Bottom Dollar is a who have come before, it is nigh pleasure? And the honest answer sounding technical precision by delight with barely a whiff of a on impossible to capture the is well, you needn’t... commercially driven producers. stinker. The ‘sisters’ have studied adventure and controlled anarchy Trevor Raggatt Wolf ’s Verschwiegene Liebe, a long- their inspirations to perfection of this style of jazz on a recorded ing ode to the freedom of thought, and in doing so have created an format. Sure the notes are all there and Brahms’ Die Schwestern, a amalgam of styles that is truly but the danger is inevitably lacking. wonderful and sound-layered piece unique, adding something new So often with more avant-garde or about the unextinguishable bond to even the most familiar of improvisational pieces, a moment between sisters, both strongly tunes. Getting Oscar-nominated that when experienced firsthand benefit from Foster’s approach; composer Benoît Charest (‘Les seems daring and risqué becomes free from constraint, heavenly and Triplettes De Belleville’) in the merely sterile and contrived when moving. The instrumentation and producer’s chair was a masterstroke frozen in time. Rather than a arrangements are almost playful, for the Puppinis. His expertise magnificent, wild snarling beast always responding to the call of ensured that the trio’s close we’re delivered a shadow, caged Foster’s voice. Schumann’s Wehmut harmony singing was recorded in and pacing with no small amount and Auf einer Burg and Schubert’s the most natural way and the array of discomfort. Nähe des Geliebten have such a of weird instruments he introduced There’s a clutch of more digestible strong recording approach, it’s as to the mix adds distinctive touches songs such as Drive, Laundry Man if you were discovering original of character throughout. Blues and May I Sit At Your Table, Josephine Foster works by this dark, delicious Classics such as Boogie Woogie and most likely it’s these that will A Wolf In Sheep’s Clothing enchantress. Bugle Boy, Bei Mir Bist Du Schön work best for the casual listener. Locust The songs may date back over a and Jeepers Creepers really show Other tracks take a rather less  hundred years, but in Foster’s fair off how tight the ladies have palatable approach — on Don’t Look and capable hands, the dust never become. Mr Sandman’s acoustic- At Me, Agossi’s voice dissolves With A Wolf In Sheep’s Clothing, settles on these dramatic and sounding swing arrangement is from an appealingly sultry croon opera school dropout turned arresting interpretations. Startling reminiscent of Buena Vista Social to a wailing maelstrom not unlike freak-folk songstress extraor- stuff. Anja McCloskey Club and other old-school Cuban scathing electric guitar feedback dinaire Josephine Foster has acts, while their very sexy take on before resolving back into the created a wonderful album free Java Jive offers irrefutable proof calmer vocal line, while on the title of form and conformity. It is of their individual vocal talent track she employs an admittedly a rather unconventional and and greatness. It’s the Forties stunning scat technique on top of exceedingly brave take on 19th makeovers of modern classics that the skeletal backing. It’s initially Century German Lieder, which really make this album special, impressive but soon wears thin, many regard as one of the classic however, and first up is Kate Bush’s taking on a tonality more Crazy schools of songwriting. Compos- Wuthering Heights. Unbelievably, Frog than Ella Fitzgerald. This is ers such as Schumann, Brahms they pull it off; what at first seems a double irony since the vocal on and Schubert created wonderful like an unusual choice develops the mostly a cappella After You’ve and delicate works using the lyrics into a spooky swing affair with Gone bears more than a passing of the literary geniuses of the added musical saw for eerie effect. resemblance to the grand old lady romantic era including Goethe Female power-anthem I Will of jazz’s velvet tones. Interestingly, and Eichendorff. Naturally, these Survive also gets the full Puppini Mina’s signature approach works compositions have been perfor- treatment. In true acoustic swing pretty well on a cover of Jimi med and recorded many times, The Puppini Sisters style with ever-running double bass Hendrix’s Voodoo Chile. Her voice yet Foster has found a way to Betcha Bottom Dollar lines and drop-in piano chords, it’s is given free reign and she achieves filter them through a unique and Universal Classics & Jazz a thrillingly unique interpretation. that rarest of things, an effective magical lens using a mix of modern  They also tackle Blondie’s Heart jazz interpretation of an iconic and classical instruments and a Of Glass, a perennial covers band rock song. The fearless innovator sound that reminds one of church It’s a cold hard fact that Britain favourite that also appears on in the late guitar hero would surely recordings of the early 1900s. has a habit of embracing novelty Nouvelle Vague’s recent album. have approved. An Die Musik, Schubert’s ode to acts over and above most other This version is quite different — Now back to that sorry looking the wonders of music, opens the major music markets, more often sung in Forties doo-wop fashion rating. On a purely technical basis, seven-song suite. Sounding at first for worse than for better. But The with what can only be described this album is clearly deserving of quiet and delicate with rhythmical Puppini Sisters (Marcella Puppini, as ragtime percussion clattering praise. The sparse production is strumming and Foster’s angelic Kate Mullins and Stephanie beneath the vocal. crystal clear, letting every nuance vocals, it soon develops into an O’Brien) aren’t just any old There are less exciting numbers shine through, and Agossi’s electric guitar workout in which novelty act — they pay homage too; their version of The Smiths’ tightly skilled band are beyond the instruments are played lazily to the Andrews Sisters and other Panic, for instance, doesn’t seem reproach. For the jazz aficionado and messily, giving one of the performers of the 1940s in a way to have received that much of

74 Wears the Trousers magazine New Albums New

an original twist. Even so, it all classic elements blend together Chan Marshall, her lulling voice comes good in the end as the extraordinarily smoothly. is both narcoleptic and ravaged, album concludes with a lovely Widow’s Weed and Cruel Storm deceptively sombre and extraor- impromptu live recording of In offer a more rhythmical approach, dinarily distinctive. But where the The Mood with finger snapping and though both are equally mel- self-professed Emotional Wench plenty of attitude. The Puppini ancholic and dark. Sometimes truly excels and betters even these Sisters really seem to be on to reminiscent of a funeral service, mighty pillars of all her peers is in something worthwhile here, and sometimes like a lonely summer her ability to establish a mood and it’s not hard to see how they were night’s walk though a sinister immerse you so deep inside it that snapped up for a cool £1 million forest, the arrangements are sim- you’re never quite sure whether the by a major label in no time. That ple but clever. Another mini-epic, gut knots she invokes are down to they’re currently writing their Children Of Stone is an emotional claustrophobia, fear or rapture. own original song material is even masterpiece that is justly given the If this were Germano’s first ever more promising. Here’s to a future time it needs to evolve rather than album, hacks would be stabbing The Grates steeped in the glorious past. reaching a premature conclusion. each other in the eyes with pencils Gravity Won’t Get You High Anja McCloskey Various interludes — first a flute in a race to coin a brand new genre. Universal then a squealing theremin and But it’s not, it’s her seventh in a  lastly a swooning cello — truly fifteen-year career and no one has accentuate the rare, strange and quite managed to pin her butterfly This debut album from Australian fragile beauty of this uniquely down. And really what’s the point? upstarts The Grates should be harmonious composition. Still, if it’s a label you want, I’m subtitled ‘…And Neither Will Mansfield & Cyclops, Dead King and prepared to make the effort and We’, such is the disappointment Moon Occults The Sun also blend after much consider-ation have with which you may be faced the new with the old in clever plumped for ‘dreamo’ — sort of had you caught the foursome ways. Rhythmical and textural like emo through an opiate haze, whilst touring with The Go! layers and the use of dissonant where snot-nosed woe-is-me’s are Team and The Zutons earlier and sometimes unbearably high banished in favour of sophisticated this year. Where their live show electronic sounds have a freaky dreamweavers who far outstrip is a riotously enthusiastic neon and dark effect on the listener. generic dear diarists with delicately bonanza, their energetic zaniness The closely miked recording of nuanced tales of human nature. Oh, translates with severely mixed the vocals is just as unsettling and a little self-deprecation as the results on record. Espers and will leave you wondering reward of actual life experience. There’s a noticeable attempt to Espers II how something so distant and That’s always good. sound like a blues-rock band in Drag City unearthly can be so near. Funnily enough, a few of In The that same bass-free way as Sleater-  Espers may indeed be hunters Maybe World’s dozen songs could Kinney or Yeah Yeah Yeahs, though of ghosts but listen to this latest easily be shredded into out-and- the sound is tinny and irritating In parapsychological terms, the excursion into the future-past out rock monsters in the hands rather than raw and intense. The word ‘espers’ means ‘ghost hun- and you’ll find they’re not beyond of another. Take Red Thread, songs mostly bounce along in a ters’, or rather ‘extraordinary indulging in a little haunting of for example, whose emo appeal summery fashion and there’s no supernatural phenomena explored their own. Anja McCloskey surely lies in its call-and-response denying that it’s pleasant at times, and revealed’. It’s an astoundingly telephone exchange of “go to hell”, particularly with the addition of fitting description for this six- “fuck you” — you can practically some third-wave ska-inspired piece psychedelic folk act from hear the crack as the receiver horns in Lies Are Much More Fun. Philadelphia, centred on the trio of collides with its cradle. But It’s when they try to sound vocalists Greg Weeks, Meg Baird Germano is too wily a creature to angst-ridden and angry that and Brooke Sietinsons. The self- languish in the obvious, twisting things go awry. Feels Like Pain is explanatory, Led Zeppelin-aping the lyric to broaden the moment a grunge-lite ditty with its token title aside, Espers II is a dark and into a greater realisation that quiet, sullen verse and scream- melancholic mixture of traditional anger is just as valid and healthy along loud chorus, but comes folk and freak electronica, like an emotion as love, and that one across more like rubbish German listening to a Sixties folk tape can often drive the other. rockers The Guano Apes than whilst watching a spaceship land Elsewhere, her main preoccupa- the more enjoyable likes of Hole. outside your muslin-curtained tion is death. The fortunately Despite being a fairly respectable window — simply outlandish. unprophetic Too Much Space arose slice of raw indie rock, even their This is in fact their third full- from her fear of losing her dad breakthrough single, the chaotic length release, following last Lisa Germano after a serious health scare; Golden Trampoline, is horribly let down by year’s unusual covers record The In The Maybe World Cities arrived on the occasion of embarrassing lyrics. Weed Tree, and things are getting Young God her much-loved cat’s death from The trouble is that none of it progressively weirder.  cancer; while the solo piano elegy sounds remotely convincing; the Opener Dead Queen is a spooky, of Except For The Ghosts is a decade- album feels like a smash and grab graceful affair that mixes high- It’s hard to disagree with Young old number written in honour of pic ‘n’ mix of various bands The pitched trembling electro sounds God Records founder Michael Gira her friend Jeff Buckley, exploring Grates are rather too fond of. with medieval guitar melodies when he claims that Lisa Germano his headspace in the moment he Patience Hodgson’s accent changes and airy female vocals. What belongs “right up there with the accepted he was a goner. Wire and from Canadian to British to starts quite simply slowly evolves cadre of strong, emotionally raw, Into Oblivion are equally affecting, American and back to Australian, into a thickly-layered, eight-min challenging and original women packing more emotion into a single a sure sign of someone trying too epic; strings, electric guitars and singers such as PJ Harvey, Mari- line than Conor Oberst at a wake hard to emulate their idols. Here’s synthetic sounds combine to anne Faithfull, Cat Power and for his own credibility. Karen O and there’s Alanis, over create layer after layer of counter- Björk”, though quite why she isn’t, Germano’s charm is incontro- yonder’s Corin Tucker and lurking melodies, culminating in a wall commercially at least, is and isn’t vertibly eerie and certainly fanciful somewhere else is a yodelling of dissonant sound that almost obvious. Like Harvey, Germano enough to put the less enlightened Marlene Dietrich. OK, so none of drives you to discomfort. The makes music that’s more often off, but this is her finest work since it is really that terrible, it’s just that beauty of Espers is that although than not unremittingly intense, 1994’s dementedly brilliant Geek the reasons to own this album are they use a modern approach sometimes catching you off guard The Girl and ‘maybe‘ just won’t excruciatingly scant when there to recording, the technology with unexpected shots of humour cut it. If you’re asking whether are better versions of every song never seems to compromise the — a tried, tested and triumphant to investigate further, the magic out there already. songs’ authenticity; modern and Björkian trick. Like Faithfull and word is yes. Alan Pedder Robbie de Santos

Summer 2006 75 Jewel Goodbye Alice In Wonderland Atlantic  New Albums

Magneta Lane Dancing With Daggers Paperbag ½

Formed in 2003, Magneta Lane are a Canadian power-pop trio featuring French, Lexi and Nadia in the classic combination of bass, drums and vocals/guitar, respectively. Having finally issued their debut EP The Constant Lover this side of the pond last December, there couldn’t be a better time to capitalise on the Canadian-friendly musical climate. This debut full-length apparently takes its inspiration from the angel and devil that sit astride each of our shoulders; thus, sinful rock and saintly melodies co-exist for the delectation of those enjoying the Courtesy of Wolftrap long dark teatime of their souls. Unfortunately, any hopes of A success! The exorcism was a recorded, Kilcher gets closer to a perfect example of the revision something special are fairly success! It seems that Alaskan the Jewel that millions loved. queen reworking a song for radio swiftly dashed. Don’t get me singer-songwriter Jewel Kilcher Not quite all the way back to the play. Satellite makes a U-turn, wrong; it’s a decent album in is no longer in thrall to the same Pieces Of You days, but following straying away from the direction itself, just not one that lives up to tormenting demon that resides closely in the glossier tracks of of the rest of the album. Though its twin muses. A more accurate in the likes of Britney Spears and 2001’s This Way. it retains a primarily country description would be Blondie other pop icons. While some may Somewhere along the way, feel, the pervasive radio-friendly meets The Strokes. There’s accept that the cause of these between This Way and the still production mires the song in its Debbie Harry’s archness and pop princesses’ inexplicably folksy Spirit, Kilcher struck own ghastly slickness. Perhaps it’s glacial cool, her band’s effortless ridiculous and self-destructive up a friendship (a love affair the aftershock of 0304; after all, pop tunes and style. From Julian antics is simply sheer idiocy, even!) with the recording studio what else can be expected from a Casablancas and co., the girls possession is the only explanation and the make-you-break-you woman who was formerly doing have duly noted how to preserve for Kilcher’s 2003 album, 0304. mainstream. Take a look at her the devil’s bidding? That fact and the rougher edges of their sound Need a reminder? 0304 was a career to date; of some seventeen a nod to Jewel’s impressive vocal to give the music a bit of grit shocking, neon-stained, soul- singles released, twelve have been range make this sour pop ditty and spike. However, like recent sold-to-Lucifer, dance-pop dis- altered in some way for radio. almost excusable. albums from both these bands, aster, trading in her folksy image Sadly, the passion hasn’t gone out Goodbye Alice In Wonderland the main problem here is a sorry and battered acoustic for hair of that relationship yet and the might be unnecessarily over- lack of variety. If an album has extensions, a push-up bra and studio is very much a presence, burdened with beats and extras, a constant feel, it also needs to a choreographed entourage of despite initial rumours of a lo-fi drowning out the simplicity for be constantly brilliant. Dancing hyperactive dancers. It was a approach following an acoustic which her earlier albums were With Daggers isn’t; it’s good, but long long way from the album tour. Fans who are looking for so highly regarded, but at least your attention may well waver that made her, 1995’s Pieces Of titles heard from these and earlier it’s a sign that Kilcher is well on after just five songs, as if you’ve You, a sweetly naïve but soulfully acoustic renditions won’t find the way back. It may require a heard all you needed to hear. honest collection that yielded those versions here. There’s a hint modicum of patience, but there’s It doesn’t help that this kind of several hits in her native US. of acoustic sparkle, certainly, but a brilliant diamond lying in the thing has been done before, and Now it’s 2006 and Jewel is make no mistake about it, this is rough (if you can consider this rather better at that, by bands back from through the looking beefed-up, polished product. well-buffed album rough in like The Duke Spirit; Nadia may glass with Goodbye Alice In The title track is billed as her the slightest) if you make it to have a mighty fine voice but Wonderland, her sixth album. most personal to date but you’ll the end. 1000 Miles Away is an she’s no Leila Moss. Dancing With most of her tendencies struggle to hear genuine feeling astonishing gift; its minimalism, With Daggers would have been for pop exhibitionism shaken over the studio sheen that takes simple strumming and innocent more digestible were it split off, Jewel has bidden farewell to the song from simple acoustic vocal will pull you back to 1995. down the middle and released more than just Alice and the Mad beginning to its grossly overdone That’s right, it’s a piece of Pieces as two EPs, tempting the palate Hatter, but also to whatever she conclusion. Catchy lead single Of You. It’s a godsend; a ray of not dulling it with overkill of a was drinking (or smoking) at that Again & Again is smooth as silk, light. Refreshing and welcoming single ingredient. If Magneta unhinged unbirthday shindig. with a nicely done vocal riding like she’s finally come home. It Lane learn to hide their flaws Delivering a collection of songs over a steady drumbeat, and the might be goodbye Alice, but it’s much more effectively, the next either composed or played live same goes for the new up-tempo hello again to Jewel. course might go down a treat. over the last ten years, but never version of 0304’s Fragile Heart - Marc Soucy Russell Barker

76 Wears the Trousers magazine New Albums New

Fletcher and her friends have The songs that appear on X- to the ‘rockier’ side of country. delivered yet another solid album, Amounts may have worked in front Fear not Chicks fans, the banjo, and indeed there’s something of an audience with all the full-on mandolin and fiddle still play a inherently reliable about any energy and attitude that makes major part. It’s clear that Maines, project she’s involved in. Whilst the live experience, well, live, but Maguire and Robison haven’t her albums will almost certainly they don’t work here, especially as totally abandoned their Nashville fall short of changing the face of a collection. The relentless, brash cousins, but be under no illusions music, the world would be a much assault soon begins to grate and — this is the sound of three duller place without them. everything melds into one giant competent songwriters with a Russell Barker racket. Singer Nirmala Basnayake’s wealth of experience cutting loose, vocals have euphemistically been both musically and lyrically. called ‘honest’ and ‘raw’, but she Yes, they have bones to pick. Yes, really only uses one tone and it they choose to do so with a certain Tender Trap jars with the angular rhythms. In lack of subtlety, but who can blame 6 Billion People the same way that Sleater-Kinney them? Their run-in with Dubya Fortuna Pop! or PiL can sometimes be better in received more column inches of  diminutive doses (x-amounts, if newsprint than can possibly be you will), the same applies to this deemed healthy in a world where Twee queen Amelia Fletcher record’s monotonic resonance and unspeakable horrors occur on a returns with the long-awaited dull uniformity. daily basis. But don’t be fooled by second album from Tender Trap, Coming back to the original the media backlash; the Chicks a band that includes her cohorts question, those buying into were courting controversy way John Stanley (bass) and Rob the media hype surrounding back on 2001’s Goodbye Earl and Pursey (guitar), both of whom Controller.Controller may well the acerbic White Trash Wedding have been with Fletcher since her be disappointed by the lack of from Home. If you think these girls days fronting the much-loved Controller.Controller sustainable interest on offer. are a manufactured country/pop Nineties indie band Heavenly and X-Amounts Get one thing straight though, wet dream, think again — they’ve their second incarnation Marine Paper Bag X-Amounts is neither safe nor always had the chops, the humour Research. The addition of drums  dependent on the latest hot-or-not and, yes, the intelligence to shake from The Magnetic Fields’ Claudia countdown — a fault that mars so it up with the best of them. Gonson gives the album a fuller feel Here’s a teaser for you: at what many debuts from bands showered Taking The Long Way opens with than its stripped back, electronic point in a band’s career does with early praise. Controller. The Long Way Round, a road movie predecessor Film Molecules (2002). hype become counterproductive? Controller have managed to Don Henley would be proud to If anything, 6 Billion People sees I doubt the music industry will sidestep such pitfalls; their have written. It’s a fine way indeed Fletcher reverting to type, being ever quite figure it out, but here’s style and approach is genuinely to say ‘we’re back!’ with the nice closer to Heavenly in style than a case worth studying. Toronto’s innovative and, though the album addition of some clever lyrical the glossier sounds of Marine Controller.Controller quickly be- largely fails, there are moments of nods to earlier Chicks songs. Research. Having said that, the title came critical darlings following exquisiteness (Heavy As A Heart Easy Silence follows with swathes track veers closer to the latter, with a whirlwind press blitz on their in particular is energetic and of harmony and a plea for the a touch of doo-wop gracing the debut EP, History. A quick signing tuneful). Don’t blame it on the simple things in life to keep you shuffling rhythm and Fletcher’s coy from the label that brought you hype, the moonlight or even the sane. Key talking point and canny vocal bemoaning the difficulties Broken Social Scene and Magneta good times, it’s the dearth of tunes first single Not Ready To Make Nice of finding a perfect partner for Lane later and the pressure was on that really does them in. is Maines’ response to the CD her friend, unselfish to the last. to justify every bit of the buzz. Stephanie Heney burning and radio boycott the Indeed, when it comes to her own In terms of genre, Controller. band endured as a result of her love life, she just gets all tongue Controller are hard to pin London outburst; it rocks, it says tied and starts Talking Backwards. down, though the phrase ‘death what it has to, and it’s followed by Yet by the time we reach the self- disco’ seems to follow them Everybody Knows, a lovely melody assured and sultry I Would Die For around. However, what they do and an introspective look at how You, things are becoming a mess is far from conventional dance, the last two years has affected the of contradictions. even under that colossal genre close-knit trio. Whilst Applecore isn’t the umbrella. Instead, their tunes are It goes on. Each cut has merits, new genre that you might be predominantly dubby bass driven, carefully constructed to achieve hoping for, it’s something slightly but where you might expect ska is an emotional response and most different for Tender Trap, closer edgy rock and punk. The disco bit hitting the right buttons. Maines than they’ve ever come to avant comes in with beats that intertwine courts the ire of her hometown garde. The skin-and-bones chorus with menacing riffs reminiscent of with Lubbock Or Leave It, which has displays an art-rock element and Joy Division or early Cure — you the classic line “…this is the only fits well as a centrepiece double can see why they were billed place, where as you’re getting on with Fahrenheit 451, as despairing with Franz Ferdinand on tour Dixie Chicks the plane, you see Buddy Holly’s and sombre a thing as you’ll hear and why they’re best mates with Taking The Long Way face…” Others worthy of multiple all year. Revelling in the success of compatriots The Organ. Columbia plays are Favorite Year, a wistful these musical departures, Tender With echoes of New Order,  look back at love gone wrong, Trap prove themselves adept at Interpol and fellow Canadians and Bitter End, which eloquently mixing it up across the rest of Metric, the songs have a cold Taking The Long Way is the Dixie dissects the true meaning of the album, the experiments being experimental feel and often Chicks’ fourth studio album, friendship, but really, they’re all the highlights. (I Always Love You threaten impending doom. Regular produced by man of the moment pretty good. The Chicks have When I’m) Leaving You is another guitar onslaughts stab away at Rick Rubin. The girls share writing consistently improved with every dark number, one you can imagine any overriding dance or techno credits on all the tracks — a first album, and this is their best soundtracking the lead from a themes, creating a cacophony for them — with such songwriting offering yet. black and white movie as they lurk of genre-busting rhythms. The luminaries as Sheryl Crow, Neil Unafraid to experiment, unafraid and dart through the shadows. tension created from the deliberate Finn and Gary Louris of The to steer their own path, the Dixie Elsewhere, Dreaming Of Dreaming dichotomy is practically tangible Jayhawks. There’s a conscious Chicks deserve a hearing. Forget evokes memories of the spirit of as we’re challenged by something effort to expand upon the acoustic, the country tag and your own Ride, being a hazy phase offering that is one moment minimalist bluegrass feel of 2002’s Home. prejudices, this is a band at its that falls somewhere lovely and the next moment bursting Driving rhythm guitar and three- peak; tune in or miss out. between shoegaze and post-rock. with melodies at war. part harmonies abound in a nod Paul Woodgate

Summer 2006 77 that in other hands could well harmony singing to new artistic Nelson on Gulf Coast Highway, have been rather self-indulgent, heights on records by Lucinda sounding like a long-married is tempered by Elin’s healthy dose Williams, Neil Young, Willie couple leafing through a lifetime of realism, giving an unexpected Nelson, John Prine, Steve Earle, of intimate memories. gravity to her questioning. Nanci Griffith, Patty Griffin, Repeatedly, the album’s songs Elsewhere, If Love Can Kill, I’ll Die the McGarrigles and just about strike a balance between regret and For You comes with a lush nagging anyone else you care to name. resignation, mixing melancholy New Albums refrain that could well sneak into The most significant of these with a sense of possibility and your brain and force you to sing collaborations have served an hope for the future. Knopfler’s it repeatedly with nary a glimmer important function for Harris, atmospheric guitar work makes I of mercy, while the universal allowing her to explore all kinds Dug Up A Diamond truly sparkle, imagery of solidarity and love of areas of the country-folk- accordion and fiddle turn Red found in Song For Anna gives rock palette and keep her own Staggerwing into a rootsy reel, Elin Ruth the song a poignancy that makes particular brand of “cosmic and the pensive verses of Rollin’ Elin Ruth it ideal to turn to for solace or American music” fresh and vital. On give way to a rush of hope and Korova perspective and insight into Crucially, however, even her most optimism in the choruses.  myriad situations. More than experimental work has always The delicate Love & Happiness anything else here, album finale retained a distinctive personality, resembles Fields Of Gold, while You’ve heard of love at first sight, Porcelain exemplifies a gentle a kind of purity, elegance and poise Donkey Town, with its small-town right? Well, how about love at musicality intermingled with that justifies Lucinda Williams’s adultery and escape for one of first chord? This international discordant notes that suggests description of her as “the Grace the three protagonists, wouldn’t debut by 24 year old Swedish the accompaniment has been Kelly of country music.” have sounded at all out of place singer-songwriter Elin Ruth specifically crafted to accentuate We haven’t heard much from on Springsteen’s Devils & Dust Sigvardsson is so well crafted that rather than merely accompany Harris since 2003’s Stumble (2005), with Knopfler taking the from the first strum to the last, I the vocals. Into Grace, a record that saw lead and Harris joining him on could barely restrain myself from This may seem like an obvious her continuing to wed her own the hushed but resolved choruses. rapidly skipping from one track to statement, but pop writers too newly-discovered songwriting The chiming Beyond My Wildest the nest, purely to experience the often fail to accurately portray a abilities to Wrecking Ball-esque Dreams, on the other hand, could entire album at once, obeying some song’s identity and mood before sonic atmospherics. Once again be arena-rock Springsteen, as kind of hedonistic song addiction. even a syllable has been sung. demonstrating once again her Harris and Knopfler unashamedly It’s hardly surprising really. This Not so Elin Ruth. With (or indeed ability to inspire and engage with celebrate a love that has endured is practically a greatest hits, as without!) the endorsement of her new generations, she turned beyond either of the protagonist’s Ruth (or Sigvardsson, depending fellow countryman José González, up on Bright Eyes’ I’m Wide imaginings. The beautiful title where you come from) has been she could still manage to make Awake (It’s Morning), adding track — a warm and moving around for quite some time and a name for herself outside of some genuine country-folk ache song of time and travel — is the these eleven songs have been her Nordic base, and certainly to Conor Oberst’s sometimes undisputed standout. cribbed from her best-selling, deserves to make some kind of strained musings, and also made a As a whole, however, the album award-winning domestic releases splash. Take the edge off the heat distinguished contribution to the is not an entirely smooth journey; Saturday Light Naïve (2003) and and sip on this sophisticated folk- ‘Brokeback Mountain’ soundtrack Right Now is something of a dull Smithereens (2005) and spiffed up pop. Or if, like me, you fall for with A Love That Will Never Grow generic plod and Belle Starr a little for a wider audience. her charms, gulp it down and get Old. All The Roadrunning finds her never quite achieves lift off. But Take first single When It Comes yourself a refill. in collaborative mode once again, the finale of If This Is Goodbye To You, for example. A massive Gem Nethersole teaming up this time with Mark features Harris’s ghostliest, most airplay hit in her native land, Knopfler on a set of twelve new enchanting vocal and makes for a it’s a perfect summer singalong tracks, ten penned by Knopfler, supremely graceful closer. that should have set alight the two by Harris herself. With its smooth, easy arrange- Radio 2 playlist and established Knopfler and Harris first appea- ments and comfortable Seventies Elin as a star. It didn’t, but with red together on the 2001 Hank country-rock ambience, it’s fair to its affirmative and empowering Williams tribute album Timeless say that the album breaks no new lyrics, that shouldn’t stop you and All The Roadrunning has been stylistic ground. The Harris record from giving it a whirl. Even better in the pipeline ever since. Reviewers it most resembles is Western is second track Paper Cup Words, of the album so far have focused to Wall, her 1999 collaboration with in which she mines the depths an almost indecent degree on the Linda Rondstadt, and while it’s of solitude with beautiful piano singers’ respective ages, as though ultimately just too conventional an and mournful cello as she bring a record made by two people over album to rank up there as one of to life the conscious decision to fifty must inevitably be less ‘hip’ her most memorable collaborative outrun a person, a place, a life than ‘hip replacement’. That said, efforts, it’s an undisputedly and everything that it means. It’ll Mark Knopfler & even the most cursory listen to lovely one nonetheless. Tender, break hearts. Emmylou Harris All The Roadrunning reveals a quietly inspiring and surprisingly It doesn’t stop there, as Ruth All The Roadrunning degree of class and style that only addictive. Alex Ramon maintains the quality throughout. Mercur y experience can buy. Each song forges a snippet of  Indeed, as soon as the album insight into the human condition, ½ opens, with sturdy drums, the interplay of emotions and The illustrious career of Emmylou mandolin and Knopfler’s distin- realisation that every person Harris has been marked by a ctive guitar licks, we know we’re undergoes but feels is their own series of creative collaborations in safe hands. Beachcombing is unique journey. Musically, it won’t with other singers and musicians. a joyous song of homecoming be everyone’s cup of tea. There’s From the first, now legendary, on which Harris and Knopfler’s a slight MOR sheen that glistens Gram Parsons duets through her voices combine with disarming over some of the songs but they’re work with Linda Rondstadt and ease and grace. Surely it can be no never drab. The ability to combine Dolly Parton as one third of Trio mere coincidence that their first melancholic messages with joy- to her partnership with Daniel shared vocal line is on the lyric ous beats (albeit with minor Lanois on Wrecking Ball (1995), “We had a harmony”. The often- tones) is a particularly appealing Harris has sought out (and been used ‘silk and sandpaper’ analogy feature of the album, particularly sought out by) a range of diverse has never been more apt, and on on Contradictory Cut and the collaborators. In the meantime, This Is Us they duplicate the feat introspective Yellow Me, a track she’s also continued to raise achieved by Harris and Willie

78 Wears the Trousers magazine New Albums New

Psapp The Only Thing I Ever Wanted Domino ½

I have absolutely no idea how to define what I just listened to. Psapp ingeniously use every instrument and kids’ toy available to make a stupefyingly odd yet very intriguing mass of noise. The Only Thing I Ever Wanted, the follow-up to 2004’s debut Tiger, My Friend, is loosely based around the band’s obsession with soothing electronica, tribal music and cats. Imagine if The Arcade Fire were to be translocated to an as

yet undiscovered African village Shields Photo: Tyler and forcefed magic mushrooms; the music of Psapp embodies the resulting hallucination. Most of the songs, particularly Peaches male) notions, or, in the case of spots on her leopard print thong, Hi and first single Tricycle, have Impeach My Bush Two Guys (For Every Girl), flip the record at least demonstrates an uplifting and childish beat, XL Recordings them on their head entirely. an awareness on Peaches’ part and although the songs are  As she did on Back It Up, Boy that she’s in danger of being — or simply performed and can seem from 2003’s Fatherfucker, her aim perhaps already has been — stuck repetitive, they carry a charm Vilified in some quarters of is to open straight male eyes to the with the label ‘that filthy lady’. that redeems the album. Having the music press as an infantile taboo of anal sex. Brushing away On Stick It To The Pimp, she toys said that, Hill Of Our Home and pottymouth and celebrated in the guy-girl-girl fantasy three- with these expectations, playing Make Up are chillingly attractive others as a genuinely subversive some that blares out from the the role of an indignant prostitute and sharp little ditties, with a interrogator of gender/sex pages of every Loaded/Maxim/ sick of male intimidation and quirk not too dissimilar to that roles, Peaches demonstrates Zoo-style rag, Peaches calls on fighting back. It’s a rousing end of Regina Spektor. If the whole yet again that it’s possible to men to be more adventurous, to a rousing — and sometimes album was consistently like this, be both things simultaneously. with Ditto’s help on the chorus. arousing — album. there’s little doubt that it could Though thematically similar to Gleefully firing out demands, Of course, as with most well be commercially hailed an previous releases, Impeach My she paints an explicit picture politically and/or sexually sub- instant classic, but the rattles Bush marks a more complete as she directs the action on her versive artists, Peaches is preach- and clanking prevent a sense marriage between electroclash own terms: “Just one thing I can’t ing primarily to the converted. of cohesion. It’s as if the band and rock than ever before — compromise / I wanna see you That’s not to say, for example, have split their wares into two Josh Homme of Queens Of The work it, guy on guy”, and later, that all Peaches fans are into distinct piles that awkwardly Stone Age provides a few riffs, “Just remember, an ass is an ass / M/M/F three-ways, but she is cohabit the disc: one enjoyable while The Gossip’s Beth Ditto so roll on over, have yourselves a the artist of choice at alternative to any kind of music fan, the and archetypal rocker girl Joan blast”. It’s gloriously filthy, funny queer nights the world over and other meant for those who like Jett guest — with most tracks an and just what parental advisory her support slots have tended to experimental jazz and general addictive mix of minimal beats stickers were made for. be with like-minded alternative/ madness, which to the majority and powerhouse guitars. Despite the suggestion of electro artists (though there are is far from accessible. Peaches herself describes Impeach My Bush that Peaches some exceptions, like Marilyn Unlike many second albums, the record as “an album for has extended her reach outside Manson). However, if the former the problem with The Only the masses, a social album of gender politics to encompass Ms Merrill Nisker can get even Thing I Ever Wanted is not that — to challenge, educate and matters of national political one avowedly hetero guy looking the album is half-baked or encourage”. Her manifesto as such importance, this proves to be a at his “nasty little brother” (Two incomplete, it’s that they’ve is based upon a refusal to willingly little misleading. Only on the Guys again) in a new way, or one seemingly attempted to condense accept the rigid representation 48-second opening track Fuck young voter wondering about too many ideas into one. What is of gender and sexuality found in Or Kill is the president really in the sexually oppressive policies sure, however, is that Psapp have mainstream cultural products, in her sights. The album’s opening of the Bush administration, then not been wasting their time. A which hetero/homosexuality is salvo — “I’d rather fuck who I she has succeeded in her aim. As clutch of beautifully edgy songs presented as a binary opposition want than kill who I am told for those of us who don’t need are to be found within, lovingly and male and female gender roles to” — is suggestive of the Bush convincing that sex is fun and hinting at brilliant things to are clearly demarcated. And so administration’s aggressive mili- Bush is bad, we can just dance to come. We’ll just have to wait we find the former music teacher tary politics and its ultra-con- the beats, laugh at the jokes and for album number three to hear continuing her quest to challenge servative sexual outlook. But even get lost in the glorious racket. them. Tiffany Daniels traditional (and predominantly if she hasn’t really changed the Danny Weddup

Summer 2006 79 The Fiery Furnaces Bitter Tea Rough Trade  New Albums

The Weepies Say I Am You Nettwerk 

Mellow folk-pop duo The Weepies claim to have touched on “a more complex sort of joy” with their second album, Say I Am You. That may be true on a personal level, but there’s little evidence of the real-life lovebirds going that extra mile to impress. There are so many bands out there doing this sort of folksy pop that gone are the times when a few guitar strokes, predictable drumming and some harmonious vocals, albeit quite lovely, warrant much attention. Not all of their contemporaries have such a sweet background, however; independent singer- songwriters and mutual admirers Deb Talan and Steve Tannen first met four years ago at a show in Boston where Tannen was playing in support of his debut album. They clicked immediately and consequently fell in love, moved in with each other and formed The Weepies. An independently- released album brought them to Their PR will tell you that The This is an immediate and exciting The band’s inventiveness has its the attention of Nettwerk, who set Fiery Furnaces are a “quirky indie- record with unpredictability as its downside, although it’s a small one them to work on this follow-up. pop duo”, but quirky doesn’t really buzzword. Eleanor’s spoken word — the jagged textures and sudden Whilst there is nothing specif- even begin to cover the bases. The vocal delivery is often reminiscent changes in time signature can ically innacurate with the PR opening track of this fifth album in of Patti Smith, particularly of her become somewhat wearying and blurb implying “lush meditations”, three years gives the listener a very Land trilogy, and the mystical you may find yourself longing for “sunny hook-laden tunes” and good idea of what is to come, i.e. overtones present on several a consistent melody, though you’ll “dark charmers”, there’s a distinct anything and everything. So while songs also recall some of the punk struggle to find one across the lack of an original angle. The Eleanor Friedberger’s vocals on poetess’s vintage tracks. Like record’s epic 75 minutes. However, instrumentation barely varies; opener In My Little Thatched Hut Smith’s, songs like Oh Sweet Woods to criticise a band for being too Take It From Me and Not Your conjure up a repetitive, incantatory mix everyday settings — parking inventive is perhaps unfair; I Year in particular are drearily chant reminiscent of the sinister lots, anonymous hallways — with know who I’d plump for given the uninventive, while Slow Pony fairytale aura of PJ Harvey’s Down a simmering threat of violence and choice between the Fieries and any Home falls short of being great due By The Water, her brother Matt’s an otherworldly, almost religious number of the formulaic radio- to a distracting arrangement that musical mélange tells a whole presence, invoked here by the friendly unit shifters that flood detracts from the vocals. Talan is different story. Tribal drums vie presence of the nameless figures commercial radio stations. definitely a talented singer but the with bursts of electronica, while pursuing the poem’s central The Fiery Furnaces are a highly album doesn’t really allow her the gentle acoustic guitar is stomped character and the backwards prolific band who are still space to show it off. A few calm all over by squealing feedback. vocals they speak in. It’s an brimming (overflowing even) moments in Citywide Rodeo and It’s Underworld meets Natalie undisputed album highlight, a with ideas. And though they Stars hint at what The Weepies Merchant and the resulting disturbing narrative set to a funky may bewilder and occasionally could have achieved if the songs scuffle is noisy, unpredictable handclap beat. frustrate, they more than had been given more depth. and thrilling; both parties surface Matt played everything on the compensate for this with their There’s potential here, certainly, bruised and grinning. record, apart from drums, and sheer originality and experimental but you may well find yourself The synth on Darling Black- the music here is so dazzlingly verve. Those searching for classic longing for more varied and natural Hearted Boy grates like the theme varied that the lyrics occasionally pop song structure will find it sounds. The almost raindrop-like tune of a Seventies kids’ TV show, get lost in the maelstrom. But (nearly) on Benton Harbour Blues; piano motif in Nobody Knows Me but somehow in a good way, it wont be long before a line like those searching for pretty much At All may be subtle and barely while the title track that follows “till the bulldozers turned us into anything else — Seventies punk audible, but it’s touches like this morphs and warps the previous whole-fruit fruit bar stix and meets the Grange Hill theme tune that The Weepies should make a melody into a frantic Space china markers” (Borneo) pulls you anyone? — will probably find it much bigger deal of next time. Not Invaders-esque sonic landscape out of your musical reverie and here too. See, everybody’s happy! everyone falls in love so neatly of frenzied bleeps and glitches. boggles your brain even further. Danny Weddup Anja McCloskey

80 Wears the Trousers magazine New Albums New

they somehow manage to remain reminiscent of Inspiral Carpets as Who exactly are Howling Bells? uplifting while doing so. singer Becki Newman vamps it up Many a column inch has been Each song seems to have been as a painted temptress of the easily dedicated to them but what invested with every ounce of led. Recent single The Girl Who Was are they really about? To put enthusiasm and desire to entertain Too Beautiful steps things up with it simply, they’re a sexy, sultry that the band could muster, and beats right out of a Seventies disco Australian quartet who’ve come because they succeed in that desire and an uplifting pop tune set to a long way to turn us all on with almost every time, it’s hard to pick lyrics that namecheck agony aunt/ their strangely erotic slant on out a standout moment. That broadcaster Mariella Frostrup loneliness. Frontwoman Juanita said, the aforementioned Broken as a paragon of knowledge and Stein’s vocal delivery is firmly set Ship, and the track whose lyrics relationship advice. It veers a little to haunt mode whilst her brother provide the album title, No Such closer to adult-alternative pop than Joel, bassist Brendan Picchio and Immaculate Machine Thing As The Future, would make most other songs here but comes drummer Glen Moule create Ones & Zeros for brilliant singles. However, it down on the right side of the fence enough dark atmospherics to Mint seems that that honour will go to in the end. keep things brooding along in  You’re So Cynical, a simple and Under The Crooked Moon is full the background. Opening with powerful song that draws the ear of nice little touches. For example, The Bell Hit, Howling Bells ease It seems like they’ve started for having a chorus that sounds a the youthful regret of Bonnie & the listener in gently with a laid putting something in the water in bit like Clap Your Hands Say Yeah, Me sees Newman’s passionate back, woozy Sunday morning tune Canada, as the last year or so has though thankfully far less brain- vocal neatly accentuated by Bert that showcases perfectly their seen bands like Wolf Parade and wrenchingly discordant). Wood’s drums and Beth Gibson’s country-tinged melancholia. Low Broken Social Scene come to the Although it’s hard to see this wailing theremin, while The Dro- Happening kicks the pace up a gear fore and begin to erase memories being anyone’s favourite record wsing Nymph comes complete and shows the band at their sexiest of Bryan Adams and Celine Dion. of all time, it’s almost impossible with a rockabilly rhythm, whip- — instantaneous, poppy, but with Another recent export receiving to believe that anyone could cracks and gunshots adding to the blackness at its heart. both great critical acclaim and dislike the industriously wrought, western feel. Debut single Wishing Stone is popular attention is Vancouver’s energetic and beautiful indie pop There’s more effervescent organ thrown in midway through the The New Pornographers, to of this, almost, immaculate piece pop on Love Or Trial, some Sons album; initially a rather sparse, whom labelmates Immaculate of engineering. Scott Millar & Daughters-esque art-rock on cold and uninvolving tune, it soon Machine are inextricably linked. Baptist Boy and a dose of lovely grows into a coolly decadent, Not only is IM’s keyboardist and acoustics on the sweet and girly gloriously dark heartwarmer. And vocalist Kathryn Calder the long- Heartbreak Soup. There’s even room therein lies the oddest thing about lost niece of New Pornographer’s for a short cover of the Ink Spots/ this stunning record — though it frontman Carl Newman, her Ella Fitzgerald number Into Each lacks upbeat rhythms and golden voice and piano skills can be Life Some Rain Must Fall, which is sunshine hooks, it never feels found littered across his band’s given a doo-wop duet makeover too cold, empty or lonely. The recent offering Twin Cinema. with Newman and Gibson cooing influences at work here at times But, whereas The New Porn- beautifully in unison. seem obvious — PJ Harvey and ographers’ sound is created Best of all, however, is the The Velvet Underground to name by anything from six to ten delightful Love In Practice, Not but two — but Howling Bells musicians at a time, Immaculate Theory, which started rather are far from derivative. They Machine need only three: Calder, inauspiciously as a B-side to Terry uniquely soundtrack a brooding guitarist/vocalist Brooke Gallupe but more than deserves its place urban wasteland, and whilst that and drummer/vocalist Luke on the album. It’s a smouldering may sound pretentious, the band Kozlowski. Not that you’d know The Hot Puppies ballad in which Newman emotive- have a truly unique quality that it from listening to their debut Under The Crooked Moon ly bemoans the standoffish attitude sparks off beautiful images in album. Ones & Zeros boasts a sound Fierce Panda of her man, but when guitarist the listener’s mind, transporting as full and as rich as any five-  Luke Taylor chimes in to duet them to a different world. Listen piece can manage, helped in large on the chorus, there’s a distinct to this album with the lights off. parts by the multi-instrumental After a few years paying their dues suggestion that not all is quite as Atmospheric doesn’t even come talents of the band members, on the indie circuit, gently hyped it first appears. close to describing it. most notably Calder herself, Welsh quintet The Hot Puppies When indie pop this intelligent Not to bring this review down who not only sings but plays lead finally appear to have the literate, comes along it’s always a pleasant with negatives, but in the keyboards with one hand while stylish pop thing down to the fin- surprise and The Hot Puppies interest of fairness, here they making up for the lack of a bassist est of arts on this, their debut (who, incidentally, were named are. Occasionally, the songs are by providing accomplished bass album. But it’s not just the quality after a Dorothy Parker poem) have repetitive and with summer lines with the other. It seems music you need to watch out for, a good chance of making a real supposedly in full swing, this perfectly possible that she’s also there’s some tales to be told as impression. Russell Barker album is not one for the barbeque. providing additional percussion well. For example, former single At times you might be wishing with her feet. Terry could have stepped right out for the album to pick up some All of this results in a thoroughly of a rock ‘n’ roll movie; it’s sassy, kind of pace and songs like Across wholesome album of likeable, classy and boasts a chorus that’s The Avenue and I’m Not Afraid power-pop tunes littered with equal parts Pipettes and Patti are a little too sparse to strike a scratchy guitars and adroit Smith and pretty damn wonderful chord with the listener. These are, harmonies combined with lyrics too. The Bottled Ship Song is a woozy however, minor points that should that, if not exactly inspired, lullaby of the sort that Rilo Kiley not take away from what is still are intelligent and well crafted. specialise in, with a chorus that an astonishing record. Howling There’s an overriding sense of joy muses on life before relinquishing Bells are unique, they have an carried throughout Ones & Zeros, control and conceding that what’s untouchable air of class — cool, even when the song’s subject in store is “anyone’s guess”. calm and devastatingly sexy like matter is less than joyful (such Indeed, it’s anyone’s guess why a Forties Hollywood actress. In a as instantly catchy opener Broken some of these songs weren’t bigger world of identikit bands, Howling Ship), that makes it easy to enjoy hits when first released. Debut Bells are emerging from a smoky right from the opening chords. single Green Eyeliner dates back a Howling Bells corner with a look on their face That’s not to say that they can’t couple of years but casts its musical Howling Bells saying “Come join us on the dark drop into touching melancholia net even further, dragging into the Bella Union side, you might just find you like at a moment’s notice, it’s just that present a keyboard motif that’s  it”. David Renshaw

Summer 2006 81 decision to, wherever possible, of Sixpence NTR. Now a doting use the live room at Abbey Road mother, Nash’s life has developed to record the backing tracks as since the band’s demise and so an ensemble to pre-recorded has her musical sensibility and vocals reaps real dividends. The direction. playing grooves in a way that In recent times, Nash has devoted lifts the performances above the no small amount of her energies to New Albums sum of their parts, ensuring that the Movement Nashville project, the feeling in the vocal is nicely spearheading a campaign to show mirrored in all the other elements the world that there’s much more of the recording. to Nashville than Christian adult Precious Time With You should alternative and country. But whilst have no problem finding favour she shies away from some of the Anna Krantz with mainstream radio playlists more overt religious imagery of Nina Gordon Precious Time With You across the UK; it’s classy, Sixpence NTR (burning bushes Bleeding Heart Graffiti Warner Bros. Glad unashamedly “adult-oriented” and etc.), her beliefs shine through   emotionally literate and none in subtle ways that shouldn’t be ½ A reassuringly old-fashioned the worse for that. In this case, off-putting to anyone fearing Previously famed as one half of affair, this debut album from phrases like “mainstream” should unwitting evangelisation. Instead, the creative force that made up London-based singer-songwriter not be confused with “bland”, its up to the music to ensnare the moderately successful grunge- Anna Krantz is chock full of quality “formulaic” or “boring”. On the you and it gets off to an excellent pop cross-over band Veruca Salt, songs, beautifully performed and contrary, these are beautifully start with All Along The Wall, a this second solo album sees Nina expertly produced, a reminder crafted songs delivered by an song that boasts one of those Gordon continue to reinvent of a time when music was less artist with a voice perfectly suited elusive refrains that can keep you herself and draw a firm musical about product and ProTools to this soulful brand of pop. humming and whistling for days. line beneath her indie-tastic past. and more about performance. More than that, it’s conclusive It might take a few listens to truly For where Veruca Salt would With a songwriting knack that proof, if proof were needed, that appreciate its message, but for churn out fast-paced rock with belies her relatively tender age, piano-driven pop, when properly someone who could all too readily alternative cred and a tuneful, Krantz draws deep from a well of done, remains forever relevant be dismissed as light and fluffy, energetic formula, Gordon’s lone inspiration that burrows all the and deserves to be appreciated Nash is endearingly earnest and singer-songwriter schtick could way down to the legendary Brill whatever the prevailing fashions occasionally profound. hardly be more different. It’s as if Building era. Indeed, producer of the day. Trevor Raggatt As was the case with Sixpence she’s morphed from early Nineties Peter van Hooke’s comment on NTR, Nash walks a fine line Liz Phair into Liz Phair nowadays, first hearing Krantz — “Well, between excessive commerciality or even Sheryl Crow. With heavy fuck me! It’s the next Carole and endearing everywoman appeal. production that’s much too big King!” — was as apposite as it was My Idea Of Heaven is certainly single on niceness, gone are the kickass profane, before they headed into worthy with its sunny beat and power guitars and in their place Abbey Road Studios to lay down joyous lyrical schtick but it’s a little comes an almost easy listening, the smooth soul-pop sounds that cloying. Indeed, the album’s first coffee table atmosphere where the inhabit the album. half is dangerously sugary, though only truly sweet stuff to be found But despite the similarities with Ocean Sized Love does pare things is disappointingly coated in sticky King, a better (albeit closely back to a simpler arrangement. mainstream saccharine pop. related) comparison can be made It’s up to Never Finish to return Despite coming a full six years with James Taylor. Like much of us to more nuanced territory after her first solo venture, Tonight Taylor’s recent work, the songs — a declaration of eternal love & The Rest Of My Life, Bleeding on Precious Time With You move that’s remarkable in that it Heart Graffiti carries on almost between tender vignettes, four- Leigh Nash doesn’t overwhelm to the point of precisely where that album left minute kitchen sink dramas and Blue On Blue unrealistic overstatement. off. There’s a sense that she’s more internal musings on love and One Son/Nettwerk It’s the little observations and confident in her direction and the loss. In fact, any of Krantz’s songs  combinations of unusual images tunes are certainly stronger than could be seamlessly transplanted that perhaps provide the album’s before, but mostly it’s more of the into these records, and I can’t First things first, you’d be readily greatest asset. For example, Between same. The theme of loves gained think of a higher compliment for a forgiven for not actually noticing The Lines finds Nash exploring the and lost permeate throughout songwriter. that Christian folk-pop two- realms of what goes unspoken in with lyrics that are bittersweet The performance, too, matches hit wonders Sixpence None our relationships, singing of the and honest, and it’s clear that she’s the high compositional standards. The Richer had split. After all, hidden depths “between hello and had to suffer some bad times to get Krantz’s soulful vocals invariably mainstream success had eluded I would give you the moon”. Cloud as far as she has. In that respect, wring just the right amount of them long before the likes of Nine’s lovely piano motifs actually Gordon seemingly wants to be emotion out of songs like We Still Kiss Me and There She Goes (their do sound like someone skipping taken as a serious pop artist in Love You and Bruises without contentious cover of The La’s from cumulus to nimbus, leading the vein of Aimee Mann; however, descending into schmaltz. It helps classic that so infuriated many an nicely into the ethereal closer Just in some places she comes across that she has a stellar band in the indie purist) eventually troubled A Little that leaves us with the more like Natalie Imbruglia with form of Steve Pierce (bass), Neil the charts, and they soon slid back simple message that “you can’t chart-friendly songs that could Wilkinson (drums) and former into relative obscurity thereafter. have rainbows without rain”. Ain’t easily soundtrack your weekly Pretender/Paul McCartney cohort They even separated quite that the truth! shop at Tesco or your Monday Robbie Macintosh (guitar) to amicably; where’s the fun in that? Blue On Blue is a work of Nash’s morning Starbucks skinny latté bolster her skilful piano. These Despite some prettily arranged own in every sense and is clearly with soy milk. aren’t cynical session players on songs, their true trump card, the the result of much soul-searching There’s some nice touches though. autopilot, and there are several thing that really made you sit up and personal observance. There’s For instance, the sequencing lets moments when their pure joy of and take notice, was the pristine, talent and moments of magic from you imagine that there is something playing the music simply pours almost twee vocals of frontwoman beginning to end, though these of a concept at work here. From the right out of the speakers. In Leigh Nash. So it’s with interest are sometimes obscured by the upbeat beginnings where Gordon particular, the Fifties jazz and piqued that many a listener arrangements. Even so, it lovingly sings of relationships in bloom Motown-tinged Pick Me Up has should approach Blue On Blue, unfurls its secrets and, given the to the overwrought emotions of the quartet kicking up their heels Nash’s first solo venture, a more right push, could well eclipse her the ending where love’s beyond and ripping through the refrains mature, more careful, if brightly other achievements. redemption, the songs gradually with abandon. Hooke’s inspired polished collection than the works Gem Nethersole get more and more melancholy.

82 Wears the Trousers magazine New Albums New

Still, whilst everything’s perky, the strange balance of belonging something distinctly terrifying and songs like Suffragette and first and being an outsider. Musically, disturbing about the execution single Kiss Me ‘Til It Bleeds are it’s impressively diverse, mixing of the latter in particular. The winning pop tunes that will lodge Elizabethan ballroom, Berlin-style worn radio sound, the whine in the memory, for a while at least. hip-hop, dark icy electro in the of a pacemaker, the basic drum But then there is heartache, with vein of The Knife, and full-blown programming, the lyrics — feelings presumably cathartic, open-wound out-and-out techno — a dizzying of desolation and hopelessness tales of trying to make sense of it concoction in the hands of lesser aren’t exactly helped by Electra’s all. Indeed, there is perhaps a little artists, but one that’s held together singing of genital death. too much of the downside of love beautifully here by Roston’s unique Soft Rock is so chock full of quirk and it’s a shame that there isn’t and affecting vocal. and choreographed madness that more of the gleeful poppiness As any self-respecting hip-hop it would be extremely interesting of the openers. Indeed, many of album should, Have It All opens to see how the songs might the sadder songs were recovered with a short self-referential intro Justine Electra transcribe to live performance. and re-recorded from Gordon’s number in the shape of The PTR Soft Rock Its crazy bass sounds, scrapings aborted 2004 release Even The Show, an atmospheric minute- City Slang against junk for percussion, stark Sunbeams, written during a phase long hello with tuned percussion  acoustic riffs and Tori Amos/Fiona in her life that she has since and staccato beats that wastes Apple-esque backing vocals all add “snapped out of”. no time in setting up the soul- There’s nothing like laying it all to the appeal; it would be a crying With a baby on the way and a searching theme of the album. on the line up front, and with such shame to lose the fragments of new-found focus, who knows Bolton Wanderer, one of several a watery title, Soft Rock doesn’t instrumentation and subtle effects where her next record will take her. standout tracks, continues this leave much to the imagination. that elevate Electra above her For now though, despite having a theme with a twisted, sexy slump But getting past the immediate more predictable peers. clutch of well-written songs to its of a tune complete with slow beats subconscious associations (that Put simply, Soft Rock is like one of name, Bleeding Heart Graffiti can and haunting background vocals are, incidentally, wrong and those close friends you only seem only be chalked up as something that give it a surprisingly soulful mostly unfounded), there is to see once every couple of years, of a disappointment. Still, given its edge. This kind of chilling vocal something truly sincere about in the summer. The attraction is history, it’s fair to say that Gordon layering is also present on Changes, these recordings. That’s not to there, but it’s something that will has been paying up on those dues an ambient ode to figurative say that they don’t run the gamut be nice to lose just to come across and deserves some solo success. metamorphosis based on a striking of the good and bad, or that their again later so the love for it stays Just don’t look back in anger. arrangement of plucked strings. appeal isn’t wholly subjective, ever faithful. Gary Munday Stephanie Heney If that doesn’t get you, Never depending on the willingness and Going Back will almost certainly mindset of the listener, but there is stop you dead in your tracks. It’s something about them. First track as if Rostron is channelling the Fancy Robots is a prime example, type of muse that visits Kate Bush where the cut and crazy synth or Patrick Wolf in their sleep; a rumblings could be construed as folk-inspired slowie with warm brilliance, or, alternatively, a little inviting strings and emotional bit bland and lacking the requisite chord after emotional chord, it punch to pull the entire song deals with the romance of running through. Luckily, this here listener away and finding who you are feels it to be the former. among the masses, married to As a whole, Soft Rock succeeds as an idiosyncratic but nonetheless a near masterpiece of patchwork. heartfelt vocal delivery. At the Killalady boasts an offbeat groove, opposite end of the spectrum, the heavenly chimes and delicate PlanningToRock title track provides Have It All’s harmonies that could make an Jane Weaver Have It All dance floor filler-in-chief. It’s an angel’s cheeks turn beetroot, Seven Day Smile Bird/Cherry Red Chicks On Speed energetic blast of creepy techno- combined with just enough  pop that would fit just as well at roughness to keep up levels of ½ a seedy Berlin warehouse party as intrigue and lyrics that sound PlanningToRock is better known it would in a whip-smart London familiar to the lives of those you It has been four years since Manc- to her family as Bolton-born indie club. The true intensity at know. All that accompanied by unian Jane Weaver last charmed wander-woman Janine Rostron work here doesn’t only arrive on social commentaries that make a our ears with the unjustly ignored who, like many creative types the pounding beats and immense mockery of the bloated, predictable mini-album Like An Aspen Leaf, a before her, left her English- wall of synthesizer sounds, but industry standard (e.g. “hip-hop record that nonetheless made an speaking homeland and decamped is also conveyed by elements of guys showing their underpants”) indelible impression on those who to Berlin, the spiritual homeland desperation and urgency that lurk make this an undisputed highlight. actually heard it. Since then she’s of electro and techno and a city deep down in the mix. Similarly, the airy blues stylings released an album under her ‘girl bustling with artists seeking a less Have It All is a thoroughly of Blues & Reds skulk their way group’ alter ego Misty Dixon and corporate environment in which satisfying piece of work in that into the depths of your memory continued to tour with Andy Votel to develop their talents. Peaches, it feels very much like a project as the song burrows itself a nice and members of his Twisted Nerve perhaps the city’s most famous followed all the way through to little nook that it refuses to get label collective. musical ex-pat, recently moved completion; the sequencing is out of. Elsewhere, the fantastic However, despite the long gap, to Los Angeles, leaving Berlin’s perfect and even the artwork (also Calimba Song is reminiscent of a Seven Day Smile is not to be electro-hip-hop sovereignty very by Rostron) reflects the original Tom Waits minimalist classic, with mistaken for a brand new album. much open for Rostron to capture and evocative music within. The an almost childish marimba motif It was actually recorded way back the throne. contribution of Rostron’s visual that’s carried forth by the sort of in the early Nineties when she was That’s not to say that the two artistry to the finished product saddened vocals that would suit the signed to Haçienda co-founder artists are especially similar; Have cannot be underestimated; it’s back porch of a crumbling South and former Joy Division manager It All is sexy but doesn’t fixate on evident throughout, in the Carolina farmhouse (she’s actually Rob Gretton’s label Manchester it, telling instead a fascinating thematic thoroughness and clar- Australian but lives in Berlin). Records. Also affiliated with the story of taking unknown steps ity of the music, the conscious At the opposite end of the label were dance outfit Sub Sub, into and among a foreign awareness of even the subtlest spectrum lie the repetitive, who later blossomed into acclaim- environment, subtly hinting at conditions around her. A truly keyboard-based Autumn Leaves and ed indie rock band Doves, and it’s the desperate times that factored inspiring album. President, both of which scrape and with these esteemed collaborators such a leap. It’s about Berlin and Robbie de Santos haul their way to the finish. There’s that much of Seven Day Smile was

Summer 2006 83 committed to tape. After Bretton When Wears The Trousers chose so many tend to rely on. Closing sparkles with jewel after jewel of died of a heart attack in 1999, the Cardiff-born singer Julia Harris as number Leave belies its ‘live studio song. Red & Blazing and Deep In label went down with him and the one of our picks for ‘06, it was on jam’ appellation by serving up The Night, for instance, may seem songs remained unreleased, until the basis of a couple of homemade a lean, well-structured ditty on simple on first audition, but listen the bright sparks at Cherry Red live albums, a growing buzz about getting the hell out of a destructive back and they reveal layer after Records allowed Weaver to release her on the singer-songwriter relationship. Aside from a few, er, layer of emotion and astonish with them on her very own imprint. circuit and a nagging hunch ‘jazzier’ notes on the bass, you’d their sheer expressiveness. The New Albums So was it worth the wait? On that the UK had finally found its be hard pressed to notice that this more unusual Eve Stole The Apple balance, a definite yes, though answer to Ani DiFranco. These was a live cut, it’s that well done. is packed with longing, folksy Weaver herself will be the first to Days is Harris’ first nationwide With the promise of a proper strings searching for meaning in admit that there are moments that studio release, so were we right to full-length debut some time in the an ever-evolving travelling rhythm. could have been bettered, but as hype her? winter or early 2007, Harris will be It is broody and full of character a statement of a time and place Glad to say but of course! With one to keep an eye on for a long and texture, Washburn’s vocals it’s more than adequate. Various These Days, Harris restores our while yet. There’s plenty more tearing right through the dramatic tracks have cropped up elsewhere belief that a grass roots buzz there this lot came from and you arrangements. (most notably Starglow) but none really can be the product of hard won’t want to miss it. Co-produced by banjo supremo have been easy to find and all work, originality and sheer talent, Trevor Raggatt Béla Fleck, this is an album still sound fresh and appealing. rather than calculated media that focuses on the singer and Weaver’s instrument of choice, the spin (Miss Thom, I’m looking at the song in the purest sense. Farfisa organ, pipes up throughout you). Of course, the DiFranco Washburn’s voice is showcased in and lends a slightly kitsch feel to factor is writ large throughout all its extraordinary versatility — the otherwise highly personal and these four wonderful songs, but sometimes soothing, sometimes sometimes serious goings on. Harris stamps so much of her own overwhelming and often childlike, Weaver might sound sweet but individuality on them that any full of hopes and dreams — while there’s a dark streak at her centre notion of facsimile is summarily the clever arrangements support for sure, and rather infectious it dismissed. Her vocal is rather rather than interfere with the is too. You’re A Riot, for example, more smooth and soulful than simple song structures. It’s a is a meaty, mostly acoustic beauty DiFranco’s sometimes abrasive moving tribute to America’s that exemplifies her special rasp, an asset best displayed when traditions that also takes things brand of unsettling tranquillity she lobs an unexpectedly brilliant one step further, blending roots (see also Once You’d Given Me Up). folk scat into Sticks & Stones, or the and building bridges. As Washburn The rising and falling notes of In soaring, pure falsetto she pulls out Abigail Washburn says in her own words: “I want to Song Of The Traveling Daughter Summer are effortlessly lazy yet the bag for Your Love. learn more about Chinese folk Nettwerk suck you in completely, but one Her muscular and funky playing  traditions, so I can integrate them true standout number is saved style is individual too, energetically ½ into my music and continue to be a for last in the form of Gutter Girl. propelling both the songs and your For someone who never set out part of the development of a more Collaborating with Votel, Weaver shuffling feet. The sympathetic to be a musician, let alone a bona universal language” — a noble allows his electronic bleeps, burps production allows Harris’ energy fide recording artiste, Nashville sentiment indeed. and trickles to run free all over the to shine through the mix rather resident Abigail Washburn has Anja McCloskey place as she tells an anguished tale than languish beneath a veneer created a spectacular debut of unrequited love and passion. of compressed homogeneity. in the wistfully-titled Song The song’s second half has her Keeping to a rhythm section of Of The Traveling Daughter. A singing as if she were underwater, drums and acoustic bass allows a beautifully layered, heartfelt which sounds silly but works well. degree of jazziness to permeate ode to well-trodden American Despite its long shelf-life and the songs, picking up the natural folk traditions, it is nevertheless slight imperfections, Seven Day funky flavour of Harris’ writing just as surprising and quirky Smile is a highly listenable album. and delivery. Indeed, one of the as one might expect from an The better tracks are musically most refreshing things about her adventurous, Mandarin-fluent, diverse and interesting, mixing is a lightness of tone and spirit. banjo-playing political activist. lush melodies with Weaver’s head- That’s not to say she doesn’t dwell Born in Illinois, rather more mess of lyrics. It’s a real pleasure on some of life’s more important than a stone’s throw away from that these songs have finally had a issues, simply that she actually the Appalachias whose music chance to see the light of day as a brings insight instead of just infuses this record, she took proper, if somewhat brief album, handwringing angst. her time in finding her calling. to stand alone as something truly Kicking off with the celebratory Unusually, a college trip to Allison Moorer Getting Somewhere original. If you’re looking for title track, with its funky rhythm, China was the catalyst — “It Sugar Hill music that seriously messes with singalong chorus and quirky had a profound effect on me,”  the singer-songwriter status quo, arrangement, it’s apparent from the she explains, “I discovered a ½ then look no further than this off that this is one song that you’ll Chinese culture that was so Unbeknownst to all but the most Helen Ogden keep coming back to. The almost deep and ancient; it changed discerning and curious of UK tribal woo-hoos and insidious my perspective on America.” music fans, country star Allison hooks are undeniably engaging Sure enough, on her return from Moorer has quietly constructed an and just get better and better Chengdu, she invested in a banjo impeccable back catalogue, never with each listen. In the hands and began a journey that led compromising her values for of another, Sticks & Stones might her back to her native country’s mainstream success, remaining seem a little clunky, topically at traditional roots. stubbornly loyal to the one thing least, with Harris pointing fingers Okay, so it was a fairly long that makes people return to her, at those who don’t consider the journey. She barely touched the album after album — the music. knock-on effects of an off-hand banjo for years until fate intervened Each album has witnessed a put-down on a more fragile spirit. and she found herself performing distinct progression in her sound But it’s not in the hands of another at short notice on an Alaskan tour without losing one iota of her and Harris delivers her message with friends. Later, she joined individual styling and wonderfully with a cheeky wink and sassy sense the string band Uncle Earl before expressive voice. Having carved out Julia Harris of self-reliance. The reggae-styled finally inking a deal of her own. a niche in the country/pop genre, These Days EP verses of Your Love contrast nicely Encapsulating the spirit and grit Moorer is now much in demand Redcase with the acoustic rock chorus of the journeywoman, Song Of for Hollywood soundtracks and a  and avoids the lovestruck clichés The Traveling Daughter positively firm favourite on the live circuit,

84 Wears the Trousers magazine New Albums New

where in 2004 she recorded a live period to influence her writing album with her older sister, the remains to be seen, but for the equally uncompromising Shelby moment we should be happy for Lynne. Now, in 2006, newly her and happy that she can still married to Steve Earle, it seems produce work of this quality. she finally feels as if she may be There’s a classic album in her Getting Somewhere. somewhere; this isn’t it, but the Moorer has created no shortage summer would be worse without of gems since 1998’s debut album it. Paul Woodgate Alabama Song, immersing herself in the southern soul of 2000’s The Hardest Part before delivering 2004’s harder-edged The Duel. Her appeal owes a great deal to her ability to get beneath the skin of human relationships without lazily ambling down Cliché Street. Moorer takes the road less travelled, telling stories through anything but rose-tinted glasses. Just a short while into the album, however, it becomes clear that married life may have taken the edge off somewhat — Allison’s happy, and here’s a snappy, concise Skye Mind How You Go 39 minutes of mostly upbeat music Atlantic to prove it. It’s refreshing to see an  artist unafraid to say all she’s got to say in songs that rarely climb over Most people will already be the three minute barrier. When familiar with Skye Edwards from music’s this good, quality beats her days fronting trip-hop heroes quantity every time. Though her turned coffee table adorners husband’s production has left the Morcheeba and, inevitably, your drums a little leaden and tinny and liking or loathing of her origins the guitars a touch more grungy will prejudice opinions of this, than anything she’s done before, her debut solo outing, right, le ft the catchy melodies remain. and middle of the road. But wipe Opener Work To Do unveils her away those preconceived ideas, newly positive outlook — “I’ve got for now is Edwards’ time to at a lot of work to do / got to give last be appreciated as an artist in you back your point of view / it her own right. A richly layered suits you fine / it’s just not mine…” musical approach gives Mind How — while You’ll Never Know, Take It You Go a sublime, multi-sensory So Hard and the beautiful Where texture that, when combined with You Are are all fine examples of Skye’s distinctive voice, produces her invigorating craft. That’s not an album with highly individual to say there isn’t an undercurrent characteristics. With its prevailing things don’t quite work, there are on the first listen you may be fooled of doubt and anxiety, but the pop sense of the hazy dog days of just as many where her slightly into finding superficial similarities stylings and a cappella intro of summer, not explicitly expressed left of centre worldview makes you with Dido or Katie Melua — the Fairweather make for an interesting until the closer Jamaica Days, Skye listen harder and appreciate the vocal tone is comparable — the contrast. Where the old Moorer makes the most of the contrast work all the more. more you listen, the richer and would have sung this song of between inherently grey urban Gossamer-light and gorgeous, more unique it becomes. All The finding post-break-up freedom environments and sprawling, idle, Solitary jostles into the memory Promises is the definitive song in from the viewpoint of a wronged sun-drenced days. Guaranteed with a well-executed staccato that respect, with unusual snippets woman, here we have instead a to effectively enrich your day, it’s approach and is a nice example of like “we broke the chain and left liberated female looking forward ideally suited to life in the city for when the more synthetic sounds the cross behind” and “love’s a to the single life. those with escapist tendencies. at work on the album are at their stain on a shirt like old red wine” It’s a subtle distinction, but an Love Show is a perfect intro- most effective. No Other, on the that haunt you long after the song important one nevertheless. More duction, allowing you to gently other hand, could perhaps rely has ended. Rather than reinterpret importantly, it’s also (whisper descend into Edwards’ world, less heavily upon them as the a traditional perspective, she’ll take it quietly) single material, one cushioned by her light and breathy exotic beach-inspired sounds each subject and give it a personal of a couple of songs that feel but infinitely listenable vocal. Love seem unnecessarily fake. The twist, sharing the benefit of her like they’ve been written with a is usually unrequited, tumultuous conversational Tell Me, with its own experience. more commercial slant. Another or passionate in song, so when Disney-esque introductory motif, The island voices feel to Jamaica highlight and a nod to her previous Edwards sings “it’s painless letting is reminiscent of a postcard or Days complements nicely the output can be found in If It’s Just your love show”, it’s a minor phonecall home in which the lyrical hymn of desire for sunshine, For Today, a realistic look at the revelation. By What’s Wrong With overall message is positive but propelling the album towards that reasons why two people get and Me, these refreshingly unusual there are moments when the which it and perhaps Edwards stay together and reminiscent in insights are a regular feature but realisation hits that “all the herself has been seeking from the feel to Can’t Get There From Here not all are effective. Mentions of distance spoils the view”, that to beginning — an entwining of the from 2002’s Miss Fortune. It’s mortgages and emails are hardly the be sharing the experience rather new and traditional, an identity dedicated (perhaps a little bravely) kind of thing that most of us would than trying to live and re-tell the carved from many influences and a to Earle; presumably his famously relish being reminded of when adventure would make the journey sense of individulity that allows for tough exterior took it in the way indulging in idealism. Elsewhere, more authentic. fresh starts and beautiful changes, it’s intended. Stop Complaining contains a jarring Certainly, what makes Mind How the most enduring part of which is Whether or not Moorer will reference to driving “down to the You Go that little bit special is that Skye is taking us all with her continue to allow this honeymoon rodeo”. But for the occasions where Edwards’ way with a lyric. So while for the ride. Gem Nethersole

Summer 2006 85 Reissues

The Gossip Standing In The Way Of Control Backyard 

Meeting The Gossip would be quite an experience if their everyday speech is as riddled with clichés as their unfortunate lyrics. Though certainly both beautiful and powerful, it’s hard to appreciate lead singer Beth Ditto’s vocals when she’s wrapping her tongue round bothersome blandness like “fight fire with fire”, “I’m a fool for you” and “as pure as the snow”, all of which should really be reserved for anodyne boybands. Worse still, the band sees fit to commit the heinous crime of rhyming “crying” and “lying”. Who do they think they are, Oasis? This grumble aside, there are other problems. At first the album seems fairly unremarkable, a little too reminiscent of your average Imogen Heap local don’t-give-up-your-day-jobs Speak For Yourself who manage to sound quite White Rabbit/Sony BMG similar to the music you actually ½ like but leave the nail’s head decidedly un-whacked. The ballad Coal To Diamonds may gloriously First the facts: Speak For Yourself It’s not immediately obvious You’ve heard that before, right? showcase Ditto’s vocals, which for is Heap’s second solo effort. Her why it’s so good. A busy sound, How about: “Bite tongue, deep my money are unrivalled in the first, I Megaphone, was released conjured from banks of computers breaths, count to ten, nod your genre, but it’s rather monotonous in 1998. Somewhere in between, and organic instruments, presents head… whoever put on this music all the same. Situated midway she achieved a degree of success itself as the modern equivalent of had better quick sharp remove it, through the album, Eyes Open is through her collaboration with early Eighties synth culture, with pour me another, and don’t wag the first real gem, just as upbeat as Guy Sigsworth in the form of Frou added orchestra, guitars and, for your finger at me”. Is that affecting you’d expect from The Gossip but Frou, releasing Details (2002), an all I know, the kitchen sink. Eno enough for you? On the a cappella with added bluesy soul. Keeping electronica album with hidden beeps, Trevor Horn synths, fuzz Hide & Seek, a vocoder’d hymn to You Alive is also a standout, depths and the first hint of what bass, multi-layered vocals — you betrayal, Heap sings “Mm what boasting a chorus that would easily was to come. After the party, name it, Speak For Yourself has got d’ya say? Oh, that you only meant fill any self-respecting dancefloor however, it seems everyone else it; there’s value for money here, well, well of course you did, that with hand-clapping disco fans. went home, so what’s a girl to do? but given bold brush, a sense of it’s all for the best, of course it is, Okay, so it seems a little unfair Easy! Re-mortgage the flat and space and warmth. This isn’t a cold mm that it’s just what we need, to review this album having only spend a year of her life writing and record; the melodies are beautiful. you decided this?” — I can’t do listened to it in the comfort of recording an album and issuing it And then it hits you — it’s the it justice in a review, you have to my home. It clearly needs to be under her own label, Megaphonic. lyrics. The words are worthy of hear it to know she’s lived it. accompanied by some alcohol- What’s that you say, sounds like a Neil’s Tennant and Finn and all the Superlatives are bandied around fuelled shape throwing, somewhere rubbish idea? Hardly! songwriting geniuses who know far too often. Each new find is the with an audience that doesn’t give Through word of mouth alone in that pop works best when it doesn’t next big thing and then a future a shit how trite the lyrics might the UK and ‘The OC’ effect in the treat its listeners like idiots. They footnote in the gossip columns. be. By all accounts, The Gossip’s States, Heap sold 100 000 of Speak capture perfectly the way our Heap won’t win everyone over live show is an experience not to For Yourself off her own back. emotions play and are played with, — that’s the beauty of opinion, be missed and it’s easy to see how Now, Sony BMG have bought the in a contemporary language that but this lifelong music obsessive these songs might come alive. distribution rights and re-released pulls no punches. For example, on is happy to go on record and state Concurrently, they are immediate it behind some heavyweight Just For Now, Heap dissects a long- that Speak For Yourself is the most and rousing, despite one or two promo. Cross your fingers the big term relationship with bruised consistent, wonderfully inventive unforgivable blips, and at least half boys know what to do with her, resignation over the space of one and stick-it-on-repeat record he’s are destined to be favourites of your because Heap has crafted a thing afternoon’s dinner party and three heard in the last eighteen months. average dance-punk DJ. Perhaps of beauty. You can hold every minutes of haunting music: “How Speaking for myself. And I’ve most exciting when viewed as a minute of this album up to the did you know? It’s what I always broken my word count to try and pre-show taster, it’s worth a listen, light and it sparkles. It’s all Tiffany, wanted, you can never have too convince you. but standing in the way of control? no Ratners. many of these.” Paul Woodgate Hardly. Lynn Roberts

86 Wears the Trousers magazine Reissues

of Minnelli’s public recovery from courtship — more to do with alcoholism. expedience, contractual obligations Perhaps the biggest shame and financial security than any of Minnelli’s career is that she great level of passion. The formula possessed enough unique talent to is well established; gather together transcend mother Judy Garland’s all of the hits, sprinkle in a few success, but chose instead to album tracks and bung on a couple live in her shadow, almost as of songs that weren’t really good if Garland left the stage and enough even for B-sides, labelling Minnelli returned for the encore. the latter as ‘previously unreleased’ Clinging to a lost era of Hollywood to ensure the established fans will razzmatazz, these days Minnelli buy in to the party. Exceptions to Liza Minnelli is a grand high priestess of camp this rule are few and far between. Liza With A ‘Z’ by proxy, replaying her mother’s Fortunately, Keepsakes happens to BMG on-stage dramatics, effortlessly be one of them.  gliding between tragedy and Credit for this is down to All survival, before sending those About Eve frontwoman Julianne the departure of founder member, Originally released in 1972 to “happy little bluebirds” to tug at Regan’s determination to make it guitarist Tim Bricheno, who was coincide with the film release of the heartstrings of her audience. more than a mercenary exercise. replaced by Marty Willson-Piper Kander and Ebb’s musical ‘Cabaret’, Here, Mammy provides the less Consulting the fans on the band’s from The Church. The change this was a televised showcase for than oblique nod to her famous official website unlocked the in personnel was accompanied Liza Minnelli’s stage credentials; mother, while God Bless The Child power of informed opinions and by an altered sound that shifted talents that would see her run away is yet another reminder of her interesting choices, all of which towards a more commercial, pre- with the Best Actress gong at the Hollywood royalty credentials make Keepsakes a worthy addition Madchester indie-pop. The songs following year’s Oscar ceremony. (her father was director Vincente to the band’s canon. from 1991’s Touched By Jesus show The release of this remastered Minnelli). “Momma may have / This double-disc set follows the a record label-encouraged move Grammy Award winning album was Poppa may have / but God bless band’s career in chronological away from folky acoustic noodlings issued as a prelude to a full DVD. the child that’s got his own” she order, and all the expected hits are towards a harder, electric feel. Guided by ‘Cabaret’ director, the trills, and for a few years in the here. However, there’s still plenty Although not a huge commercial legendary Bob Fosse, this audio 1970s, Minnelli truly did have it to engage the hardcore fan. In success, it did produce some recording of the show remains all. Equal parts actress, singer and some cases, the obvious choices dividends. Farewell Mr Sorrow, a an intriguing journey through dancer, Minnelli’s versatility made are made more interesting by stinging riposte to Regan’s former traditional standards and modern her hot property and her maternal choosing a rare extended 12” mix guitarist/lover, remains a perfect compositions, although even the genetics ensured further success — such as for the opener Flowers slice of jangle-pop that, if justice contemporary tracks, infused in Martin Scorsese’s ‘New York, In Our Hair. Elsewhere there are were served, should be hailed with wah-wah guitars and funky New York’ (1977). live recordings or radio sessions alongside contemporary songs by basslines, still show their age. You can’t make a star without alongside modern reworkings. The La’s et al. Such television specials are a some edges, and even if Minnelli CD1 blankets the band’s early There is much to admire from staple of the US networks, and is more of a tabloid curiosity these years and their most commercially this section of All About Eve’s each number is an all-singing, all- days, remnants like this from successful phase. Cherry-picking history, particularly Wishing dancing affair. her heyday are testament to the tracks from their eponymous 1988 The Hours Away, which benefits Son Of A Preacher Man is a song last stand of Hollywood’s golden debut and the excellent follow- from a liberal sprinkling of Dave of such excess, but falls someway era, but this live recording lacks up, Scarlet & Other Stories (1989), Gilmour’s unmistakable guitar short of Dusty Springfield’s dimension and is perhaps best it serves to demonstrate what a sound. Ironic, then, that the definitive version, while Bye, Bye experienced on DVD. However, good band they were and how band’s subsequent move to a more Blackbird is given the full Fosse the ambition is admirable and sadly underrated they’ve been. psychedelic, electro-tinged sound treatment (click, tap, heel, tap) you get the feeling that even if she Certainly, there are depths to All on 1992’s Ultraviolet is marked by though, again, the staging of the wasn’t topping the bill, Minnelli About Eve beyond the hauntingly a previously unreleased version number is somewhat incongruous would still steal the show. beautiful acoustic compilation of Pink Floyd’s classic, See Emily with the gently sanguine lyrics. A Stephen Collings staple, Martha’s Harbour. Their Play. Even here, though, the chord demanding director, Fosse would songs retain a certain timeless structures, guitar sounds and control every affectation, ad lib and quality, making them as accessible Regan’s always beautiful voice aside and the note-perfect songs, to new listeners today as they were retain the band’s hallmark. while impressive on screen, leaves when first released nearly twenty The album closes with 2004’s the recording a little bit flat. years ago. Of course there are abortive comeback single Let Me There is no doubt that Minnelli sonic elements that peg them to Go Home and two new tracks, puts on a good show, and even the late 1980s — heavily chorused Keepsakes and Raindrops, that on record you can imagine the guitars, big gated reverbs on the fittingly avoid any foolish attempt clenched fists and theatrical snares — but the strength of the to rehash their early days. All in all, gestures that accompany the vocal song-writing and Regan’s never Keepsakes is an effective summary, octave leaps and key changes. Liza less than heavenly vocals lifts full of gems for casual and avid With A ‘Z’ serves as a reminder them beyond that. listeners alike. Also available is a of Minnelli’s impressive vocal Actually, it’s hard to praise limited edition run containing an range and the Cabaret Medley is a the quality of Regan’s pure, additional DVD with videos of perfect trailer for the full-length All About Eve clear singing highly enough. In all the band’s singles and a range versions. From Wilkommen and Keepsakes: A Collection interviews she has often referred of live/TV studio appearances, the sublime Money, Money to the Mercury to her diffidence towards live including the famous Top Of The emotive Maybe This Time and the ½ performance and her struggles Pops taping of Martha’s Harbour high-kicking title tune finale, each with stage fright; however, the where no one thinks to cue in the audio vignette evokes the divine It is a universally acknowledged live tracks included here belie band or provide them with music decadence of Weimer Berlin so that truth a record company in any timidness, showing them to to mime to — oops! Despite a evocatively captured on film. possession of a good back catalogue be an impressive live act, capable muddy sound quality that betrays Even the lines “the day she died must be in want of a career-spanning of rocking far beyond their twee the age of these films they make a the neighbours came to snicker ‘best of…’ compilation. All too Goth-folkie stereotype. satisfying addition to the CD and / well, that’s what comes from often the process of compiling such The second disc launches with are guaranteed to bring out the too much pills and liquor” have a package bears all the hallmarks of Farewell Mr Sorrow, marking a inner pre-Raphaelite in anyone. acquired added prescience in light a minor Jane Austen character’s watershed in the band’s history — Trevor Raggatt

Summer 2006 87 their most perfectly poppy before going off on a tangent with a sudden and exhilarating twist of manic energy. Listeners not au fait with the Japanese language might find it a little more difficult to engage Imports with some of the songs, but the impassioned soundscapes and squalling guitars carry more than enough emotional charge to render this minor concern practically irrelevant. New Years, for example, is one of the album’s highlights; a soaring wall of guitars is overtaken towards the end of the song by feedback that sucks in the sounds around it like a black hole, only for the melody to re-emerge even more powerfully. Even Asobi Seksu if you don’t understand what Citrus Chikudate is saying, her voice Friendly Fire lends meaning to the words with  vocals that are sweet but edged with a knowing tone, sometimes Currently garnering lots of rave to break out of on this rockier ever did. Come the midpoint reminiscent of The Cardigans’ reviews in America and recently follow-up. of Red Sea, for example, Mitch Nina Persson. selling out a string of shows at the So keen are they to hammer Spivak’s frenetic drumming Citrus is very much an album for Bowery, Asobi Seksu are super this point home that their press and James Hannah’s guitars are these times. If Asobi Seksu can hot property and most definitely release emphatically states creating such a maelstrom of be lumped in with the footwear in vogue. that the band “have outgrown curiously melodic noise that you fixated crowd, it’s only because Never heard of them? Never the comparisons to My Bloody wonder where on the earth the they’re the most forward-looking fear! Here’s a few factoids for you: Valentine and Lush”, but to these track can possibly go from there; shoegazers of 2006 — how’s that Asobi Seksu means ‘playful sex’ in ears that’s not altogether the case. the answer is into a plunging for a paradox? — and certainly colloquial Japanese; there’s four of There are several parallels with sea of reverb and feedback. not looking to retread the steps them; frontwoman Yuki Chikudate Lush’s Lovelife in particular, but Fantastic! Exotic Animal Paradise, of their predecessors. Even if sings in both English and Japanese; Asobi Seksu are more sonically on the other hand, is every bit they were, you could guarantee and the band’s 2004 self-titled and structurally adventurous as beautiful as its title would that the shoes on their eight debut earned them a reputation and pack a more powerful and suggest, for the first two minutes well-turned heels would be oh so as modern-day shoegazers, a insistent punch, ratcheting up at least, shimmering languidly terribly chic. pigeonhole that they try hard the noise level more than Lush and recalling Yo La Tengo at Danny Weddup

Ron Regé Jr., Lavender Diamond humour too. If anyone had told indie flick (that is, if Aimee make pastoral chamber-folk with me last week that I would soon Mann were too busy). a spiritual bent that steers away become obsessed with a song as In Heaven There Is No Heat starts from being fiercely didactic, just bluntly named as You Broke My off like a subdued Josephine gently inspirational. Heart, in which it takes a full Foster outtake then suddenly Stark in particular is a keen sixty seconds before any other there’s sunshine — irresistibly advocate of the healing power of lyric is uttered, I never would bursting through the gloomy music and making every second have believed them. Yet here I am repetitive verses comes the sacred. The daughter of a would- with the song on its umpteenth biggest, shiniest, multi-part har- be minister mother (she was repeat thinking it could well be mony chorus this side of The kicked out of ministerial school the greatest piece of music since, Magic Numbers. Inspired! for rock ‘n’ roll tendencies), well, almost anything on Joni Then, like Vashti Bunyan on Becky and her sister would Mitchell’s Blue. valium, Rise In The Springtime Lavender Diamond often attend their mum’s own Rarely has anyone sounded arrives a fully-formed mini- The Cavalry Of Light EP ‘Church of Popular Culture’ so simultaneously mortified Britfolk epic that’s so airy and Self-released where they would debate the and overwhelmingly thrilled at gossamer-light that not even  metaphysical meanings of songs getting the boot. Stark’s angelic, its worshipful lyrics can cloy. by Madonna and Culture Club, escalating vocal soars and swoops It’s sweet, strange and a little When the lovely Dévics name- before graduating to the likes of like a repentant bird of ill omen bit squidgy, like aural Turkish dropped this Los Angeles-based Fugazi and Chisel. None of which over a janglefest of acoustic delight for slimmers. quartet in last issue’s interview, really give you any idea of how guitar, tambourine and radio- Herbalists claim that extracts of Wears The Trousers knew we had heavenly this EP is, so moving friendly staccato piano riffs. It’s lavender can be used to soothe to investigate further. What we swiftly on… an ecstatic revelation that works headaches, to aid your sleep found was this sparkling jewel The thing about singing of a far better in practice than it ever and even to help cure acne. I’m of an import — sixteen minutes broken heart is that everyone’s could on paper. making no promises on that last of some of the most evocative doing it. The theme is so While just as brilliantly one, but The Cavalry Of Light music ever committed to disc. prevalent, so universal that it’s conceived, nothing else is quite seems equally potent. Seek it out Fronted by Seventies songstress hard to really give that much of a as good. The sleepy, weeping on editor’s orders. throwback Becky Stark and damn unless it’s being done with strings and plaintive piano of Alan Pedder featuring former Young People fresh invention. Clearly, Lavender Please touch on a rainy-day Car- singer/guitarist Jeff Rosenberg, Diamond have collectively pre- penters vibe and would sound If you can find it, check out Becky’s composer Steve Gregoropoulos empted such a jaded, grumbling perfect if it were played as the solo CD Artifacts Of The Winged and percussionist/visual artist worldview, and with a sense of credits roll on some devastating for more beautiful tunes!

88 Wears the Trousers magazine Imports

with submarine echoes and far- in finding a trade-off between by in a blur of nothingness — the off whalesong. Here, instead of the crossover elements of both aural equivalent of a tranquiliser drawing away from the vocals, genres, in part due to some tablet. Paul Woodgate the effects enhance them and Mia excellent variations in tempo, an reaches near-operatic perfection amazing voice and, perhaps most — she’s classically trained — full importantly, some cracking songs, of ghostly feeling and chilling Cibelle unfortunately fails. restraint. Muscle, Blood & Bone The album starts pleasantly evokes a hint of Natalie Merchant enough with the hazy summer but with a matchless mysticism swell of Green Grass (tellingly, and warmth, and elsewhere, as a cover of an old Tom Waits on Deep At Sea, we are reminded song), but you’ll have forgotten Mia Doi Todd of Kosheen’s quieter moments. it completely halfway through La Ninja: Amor & Other All in all, Mia’s vocals are utterly the meandering follow-up, Dreams Of Manzanita unique and warrant only the Instante De Dois, which sets the Plug Research lightest of treatment. benchmark for the remainder of  The only untouched song, the the set by outstaying its welcome new Kokoro, is conspicuous in by at least two minutes and This latest full-length release from its lack of production, yet its overplaying the use of ‘novel’ Scanners Violence Is Golden Californian singer-songwriter bare bones nature makes it both instruments and sounds, until Dim Mak Mia Doi Todd is both new and heartbreaking and perfect, proof the original melody is a distant  not new. Three new songs appear that sometimes, less is more. memory. Ditto Phoenix, Minha (including a haunting cover of However, what shows through on Neguinha and, well, just about Though having a name that’s The Beatles’ Norwegian Wood) La Ninja is that the music of Mia every other song. pretty much Google kryptonite but mostly this is a remix album, Doi Todd has great possibilities It’s a shame because Cibelle’s probably hasn’t helped Scanners’ with versions of tracks from and works both accompanied voice is a fine instrument, but cause, it’s hard not to feel this her 2005 collection Manzanita and bare. Like Björk, her strong too often she crowds it with fledgling London quartet have given a treatment from her Plug vocals always manage to retain unnecessary percussion and ill- been dealt a slightly unfortunate Research labelmates and others. the listener’s focus, and as Beth judged electronica. Mad Man Song, hand. A domestic deal hasn’t Oftentimes, a remix of a song Orton has shown in the past, a featuring French rapper Spleen, been forthcoming, and while US can drown out the essence of the sensitive remix of a folksy tune is a particularly poor example of indie Dim Mak snapped them original, revealing more about can be extremely effective and someone seemingly offered a 48- up Stateside some months ago, the remixer than the song. It quite quite beautiful. track studio and feeling obliged doubtless thanks to the magic of can be argued that a truly good Stephanie Heney to fill each one with a different the internet, this isn’t as rosy as it remix (like good production) sound. When those sounds are, to sounds. A couple of LA showcase has the purpose of adding to the quote from Cibelle’s website, “… gigs aside, Scanners are in the fundamentals, interpreting while voices, spoons, sugarcubes, cups somewhat Catch 22-ish position enhancing rather than swallowing and coffee”, the phrase ‘trying too of being too skint to tour the up. Luckily, this is largely what hard’ springs to mind. I’m all for only country their record is we have here. For an artist who experimentation, but based on the out in, instead gigging almost predominantly performs with premise that it’s being conducted exclusively in London where no sparse accompaniment — her with goals in mind, rather than bugger can buy the album. first three albums were solo for the sake of it. There’s a lot This deserves to change, as said acoustic — it seems an obvious of repetition, too much stopping album, Violence Is Golden, is as move to invite some outside to talk/whisper sultrily (sing invigorating a record as you’ll musical interpretation, and the woman, it’s what you’re good hear all year. The lynchpin is result is quite interesting. at!) and the tempo hardly ever singer Sarah Daly, whose vocals The treatment of the songs has Cibelle shimmies above a slowly trudging lie somewhere between Polly Jean fortunately been mostly minimal. The Shine Of Dried Electric stroll. Unless you’re paying strict Harvey and glam-era Bowie — A true and tangible beauty lies Leaves attention, you won’t even know eerie and off-kilter, but delivered in their stripped-down nature Six Degre es which song you’re listening to, or with too much arch panache to and in the raw quality of her  even if it’s still the same day of the ever drift into woe-is-me territory. impressive voice. Indeed, it’s week. I actually felt like rewarding But it’s the music that really makes this that makes her music so The thrill of retail therapy is a myself for being able to listen to the album; on a budget of what moving. The songs’ ethereal and potent little thing and is cleverly all of Flying High without pushing must have been about 5p, the poetic qualities have generally designed to ensure you keep fast forward. It just goes on and band appear to have compressed been preserved and the remixing returning for more. It’s anticipation on and, well, you get the picture. all the best bits of the Seventies done with a gentle rather than and control and material reward Ultimately, Cibelle’s efforts to and Eighties into eleven slick, heavy-handed approach. Only on all in one quick fix. Often, of diversify her sound suffer from tuneful blasts. From the faintly Amor does it seem to flounder course, the thrill is momentary, the modern malaise of throwing ribald electro-avalanche of opener completely, the additional sounds the bell curve of desire flattening everything at the proverbial Joy, through the New Order-esque adding clutter and confusion. quicker than you can say pancake. wall and hoping that all of it melancholy of Lowlife and the There are other moments of Such is the deflating experience sticks. There’s a startling lack rabid camp of Air 164 and Raw, unexpected distortion, but these of listening to São Paulo-born of variation, both in ideas and Violence Is Golden smacks into you are used to good effect. Todd’s Cibelle’s (pronounced see–BELL- tempo, very little thought given to like Zinedine Zidane on happy unique resonance and deep tones ee) second album, suffering as it the pacing and no quality control; pills, a Technicolor beast gleefully enable her to create distinctive does from trying much too hard fourteen songs, only two of which devouring glam, new wave, punk atmospheres extremely well, and to be cerebral. Here, she is to clock in at under four minutes — and a half-dozen other genres. a spooky Portishead feel gives an Bebel Gilberto what Oasis are to perhaps someone has a little too That it occasionally lacks depth additional edge to her melodic The Beatles, but the comparison much time on their hands, hmm? and is generally a touch incoherent traditional folk. is an appropriate place to start. This is the kind of record that does little to diminish the album’s There are three remixes of My The Shine Of Dried Electric will make you long for a return appeal – after all, lack of depth Room Is White, and while the Leaves copies Gilberto’s Tanto to the limitations and boundaries and shallowness are classic signs Reminder edit corrupts the Tempo blueprint by mixing slow of analogue and vinyl, ensuring of a good time, and Violence Is vocals beyond recognition, the electronica and Latin acoustics to that the obvious filler and vanity Golden is more fun than snorting Flying Lotus effort creates a quite a collection of very laidback torch projects are culled. The Shine Of a tequila slammer. inviting ambience, complete songs. But where Bebel succeeded Dried Electric Leaves will pass you Andrzej Lukowski

Summer 2006 89 wake people up,” she muses, “but hardly that of Kylie or Robbie’s it’s not enough to wake them up. latest DVD. The producers You have to give them direction.” make very good use of the five- Blimey, stop the presses! camera film crew and all the But it doesn’t stop there, oh no. angles available, with occasional See the montages of war-torn monochrome fades and inserts children from across the ages, adding a touch of class. That Film & DVD Film set to thumping dance beats it comes in proper widescreen and over-laid with cod-religious format is simply an additional pronouncements. By the time bonus, but an excellent one. Why Michael Moore comes on screen so many music DVDs still seem to sing her praises, you just to come in 4:3 ratio is beyond might want to throw your TV out me, but that’s another story. The the window. On the plus side, audio, too, is exemplary with we’re offered pleasing insights both the stereo and 5.1 surround into family life — see Daddy sound mixes vibrant and lively. Ciccone in his vineyard and a As ever, Hogg is in fine voice, neat pay-off to In Bed With’s dishing up a bewitching con- Madonna scenes of his disgust at her live Iona coction of crystalline purity and I’m Going To Tell You A Secret show. The Ciccone children, too, Live In London rich, breathy intimacy. The Warner Bros. are surprisingly unprecocious, Open Sky/Voiceprint range of instruments shared  frolicking around with only mild  between Bainbridge and Don- hints of premadonna antics to ockley is staggering, from the “I have a cage / it’s called the come, while Guy Ritchie comes It’s been a long time coming but conventional rock armoury of stage / when I’m let out, I run across in a peculiar manner; this double-disc live DVD set electric guitars and keyboards about / and sing and dance and impish and playful one moment, from Celtic rock band Iona has to more traditional instruments sweat and yell / I have so many a walking stereotype the next. All been well worth the wait. In fact, like bouzoukis, acoustic guitars, tales to tell.” Cockney men have lock-ins at it has been six years since fans low whistles and uilleann pipes. Yep, Madonna has decided to their local so they can whip out a of the band have had any new This more antiquated arsenal share with us her latest poetic guitar and chant folk songs? You Iona product to get their teeth may seem to peg them in the exploits. One can only speculate heard it here first people. into — 2000’s studio album, ambient Celtic and folk-rock on why nobody stopped her. Per- But what of the music, for some Open Sky. This partial exile, categories, but comparisons haps it was yet another attempt to the preferred occupation of during which the band has made with Clannad at one extreme and portray a sense of edginess and Madonna? We’re shown nattily- only occasional live forays, has Fairport Convention at the other spontaneity, and once again that’s edited performances that prove been partly self-imposed since it fail because of the other elements probably the biggest problem. the stage is where she still knows allowed, amongst other things, Iona bring to the table. This is her second behind-the- her stuff. Like A Prayer is updated time for lead singer Joanne Hogg Many of these songs possess tour documentary so you might to an electro stomper, Holiday to start a family. However, with definite prog rock leanings with have thought she’d know by now rocks the house and Oh Father new studio album The Circling their extended instrumental that grainy film stock and showy ratchets up the teariness Hour due for release in the passages in which duetting lenses don’t really fool anyone mechanically. Duff single Amer- autumn, Live In London serves uilleann pipes and electric into thinking that they’re getting ican Life comes off worst with to whet expectant appetites, guitar is something of an Iona real insight. a dance routine that’s more not least because three of the signature. However, a keen pop Covering her 2004 Reinvention reminiscent of ‘Springtime For songs here (namely Wind Off sensibility never allows them to tour, I’m Going To Tell You A Secret Hitler’ than anything remotely The Lake, Strength and Factory Of regress into the sort of navel- is not actually a documentary worthwhile. Think skimpily- Magnificent Souls) are new and gazing self-indulgence that in so far as Madonna’s editorial dressed marines and faux- tasty entrées. has so often marred music of control ensures that there is plosions with a real war footage The remainder of the songs this type. The playing is never nothing shown that falls outside backdrop. Even so, why anyone are culled from the band’s five anything less than tight and of her patented spiritual mum would want to listen to these studio albums, with all phases the music is always accessible persona. So instead of getting performances without the aid of their sixteen-year career and focused yet multi-layered moments of her infamous str- of visuals is a cause for concern; represented, with a few cuts and textured. It’s a heady but oppage we’re dished up yet the bonus CD may be a smart from Iona’s multi-instrument- satisfying mixture that draws more supposed ‘edginess’ re- commercial move but, artistically, alists Dave Bainbridge and Troy deep from both traditional and hearsed to within an inch of its it’s an absolute dud. Donockley’s duo project that modern music and infuses that life. Madonna talks about being Oh well, it could be worse has kept them busy during the with a soaring Celtic spirit. caked in sweat! Madonna’s going — it could be Geri Halliwell. down-time. All told then, Live In London to the loo! Madonna’s costume Madonna is no world thinker, but Filmed in November 2004, is an excellent record of a smells! This is the story of life her explorations into personal the concert is presented as supremely talented band rel- on the road, edited and acutely enlightenment are much less something of a comeback, and ishing the opportunity to share a contrived for your fanboy/girl- crass than you might imagine. it’s a joyous affair; the mixture passion for their music on stage. watching pleasure. Well, you She does at least have the sense of party atmosphere and It succeeds as both a memento didn’t want warts, did you? to show us the universal side of adrenalin-fuelled nerves are for existing fans and a great There is certainly a message the message, keeping the brush in evidence, all of which add a introduction for those who are amidst the mediocrity, though. strokes nice and broad. This is sense of energy. The music is new to the band. If your taste for You almost want to give the lass not a documentary. It’s a two- presented in two sections — the Celtic music stretches beyond a break after the over-nauseous hour long coffee table book. main programme providing the MOR ambient washes of rabbiting on about her religious About the only true insight over ninety minutes of the Enya and the like, or if you’re a choices in the press. Surely she’s one can newly glean is that band in full flow and a half- fan of classic rock who’s willing not going to try and convert us? she’s clearly witnessed enough hour acoustic set. It’s crowd- to go beyond familiar constructs, Actually, yes, she is. Bring forth nightclubs at closing time playing pleasing too, as is clear from there is much in this set that will ‘teacher’ Eitan to share vague Come On Eileen to know how to the vociferous reaction. reward your attention. spiritual truths; observe how she shift the punters — her attempt The music and visuals are both Trevor Raggatt reads the Kabbalah text Zohar to finish with John Lennon’s well presented, with only a few in bed; and so on. You can prove Imagine had me reaching for the digital artefacts on the faster To hear preview clips of all the anything with platitudes: “I stop button with alacrity. motion betraying the fact that songs on the forthcoming album, always thought it was my job to Ian Buchan the budget for the project was visit www.iona.uk.com.

90 Wears the Trousers magazine in heightened reality an escapee of performances is a credit to both esque, dependent on the light in Andrea Corr a Tim Burton landscape, demon- actors and Raymond as director. which they’re seen. Richard Raymond’s ‘The Bridge’ strating all of Burton’s delicious Corr, previously seen in ‘The Are there flaws? One or two, Rating: 12  dark melancholy but devoid of his Commitments’ and ‘Evita’, the but even these are debatable. black humour. However, this is no Madonna vehicle in which she The plot is stretched slightly triumph of style over substance: was criminally allowed only one and could be shorter, but to lose In her office, late at night, Mary Raymond gently unfurls his tale, line of what should have been the slow-burning build would (Andrea Corr), a psychologist, Mary at first still as she receives her character’s own song, has her almost certainly detract from the takes a voicemail from the father the message, her agitation grow- sights set on an acting career and atmospherics of the film. The of a girl who has committed ing as she takes the call from the evidence on display here leads ending, too, is not as dramatically suicide whilst under her care, Simon and realises he is on the one to suspect she’ll be most climatic as one has been led to urging her that it’s time to ‘let go’. brink of killing himself, and then successful. Underplaying rather suspect, but it is satisfying and Having lost her position through her flight into the night as she than overplaying is a most subtle quite haunting, resolving itself this unfortunate event, Mary attempts to lay her own ghosts to skill and Corr demonstrates this and yet is ambiguous enough to finds it very hard to do so, and rest by saving another, all leading with aplomb. Fenton, meanwhile, leave the viewer revisiting the scribbles down the man’s number to a taught and chilling climax. ranges from pathos to simmering tale in the mind’s eye. only to see it vanish beneath the Whilst an interesting combin- rage, as his anger at his life erupts ‘The Bridge’ has already attrac- remnants of a teacup, upended ation, there may not be the highest and, his face a close-up of crev- ted a considerable fanbase and by her friendly cat. An attempt of expectations for the pairing of ice shadowed contortion, bores plaudits from home and abroad. at remembering the number the lead singer of a pop group with into the viewer. The interplay It’s legacy will be as a beautiful, leads to a call to an elderly man, Doctor Legge from Eastenders. between seasoned thespian and melancholy calling card that her- Simon (Leonard Fenton), who In that case, be prepared for fresh-faced newcomer is nicely alded the beginning of a most only moments before was poised, a most pleasing surprise. The balanced, and the unlikely two- promising career for both its barefoot on a snowy ledge, about pacing of the film is dependent hander deftly explores a range of director and its leading lady, but to leap to his death into the dark on the camera exploring the human emotions. As the falling one which will remain a favourite waters below… performers’ actions and gestures snow is by turn luminescent white in it’s own right in any viewer’s Against the shadowy silhouette and, within their dialogue, to in the lamplight, or midnight blue personal film collection. of the bridge, blue-tinged and linger on their expressions. As against the darkened night, it Jean Lynch feathered with falling snow, such, any mis-timing or errors reflects how the film’s themes of director Richard Raymond elicits would be magnified to the regret, guilt, blame, loyalty and ‘The Bridge’ is out now on DVD or a magical and haunting sense of audience. That they both deliver redemption are rarely black or as a digital download exclusively other-worldliness, the stylised convincing, gripping and moving white but instead change, Monet- from www.digitaldeli.co.uk.

Summer 2006 91 chords and driving beats, and she Cerys Matthews nervously admits to the crowd that The Scala, London she’s “shaking like a leaf”. July 26, 2006 But if the last few years have  shown anything, it’s that Matthews is a fighter and by the third song – a low-tempo run-through of early

Live Catatonia classic Lost Cat – the up-for-it crowd begins to have an effect. Given the parallels between her new material and some of Catatonia’s less populist efforts, a song like Lost Cat fits snugly into the set; even The Guardian’s gig fields. writer failed to spot the nod to her Fleece & Firkin, Bristol past, despite it being greeted with June 25th, 2006 one of the night’s biggest cheers.  Open Roads, the instantly memorable first single to be taken Warm-ups, I have realised, are from her new album Never Said not supposed to be heard by Goodbye, also gives the album outsiders for a very simple reason its title, and when Matthews — bands invariably sound awful. sings “it’s like we neh-ver said The singer(s) will undoubtedly goodbye”, it’s easy to recall just be out of tune. Indeed, early on how much fun Catatonia were in the evening, heard through the in concert, counterpointing the ancient industrial walls of Bristol’s pre-mill-ennial navel-gazing of Fleece & Firkin, fields. sound like their contemporaries with fuck- shrieking banshees in the middle off power chords and anthemic of a massacre of shouty East End choruses. Somewhat inevit-ably, market stall holders. This, perhaps, Matthews’ lyrics have become is why half of the audience leave more introspective since her before they’ve even entered the departure, picking apart human venue. A few manage to convince foibles and personal frailties, themselves that it was only the disguised Trojan-horse style by roadies testing the equipment, Barely ten minutes after the Winged. Her voice both warms and sweet melodic pop. while fans of the band wonder doors are flung open at the Scala, haunts, the unaffected tenderness But don’t be fooled into thinking if singer Thorunn Antonia is in Californian songbird Becky Stark of her soaring falsetto revealing she’s gotten stuck in a mid-paced possession of a hideous cold. quietly glides to centre stage to kick one of the purest, most honest groove; her latest musical gear So far, not really that good, and off the evening. Wearing a striking vocal talents this side of a certain shift heralds the re-emergence of the bar staff haven’t even served aqua ballgown and, bizarrely, a Vashti Bunyan. Saving the world Cerys’ bona fide rock star qualities. a drink yet. Fortunately, all is matching blue cape, she resembles may be out of her reach for now, Even the most cotton-pickin’ rescued when, taking to the stage an intriguing blend of Supergirl but if Stark can get a bunch of moments from 2003’s country ahead of headliners Larrikin Love, and Cinderella. In keeping with hardened Londoners eating out of jamboree Cockahoop are given fields. launch into Songs For The this image and her earnest songs her hand like puppies, persuading a shot of pure rock adrenaline. Fields and a hundred ears prick of love and fairytale dreams, world leaders to just get along is During the traditional All My up in an instant — “wait a minute, Stark also believes in saving the not all that far-fetched. Trials, for instance, Matthews I’ve heard this”. It’s one of those planet, provocatively, yet sweetly Second support act Richard James dispenses with her guitar and songs that you can’t work out decl-aring that “peace has finally – formerly the guitarist for Welsh unleashes memories of the days whether they’ve half-inched an come to planet Earth”. Given rockers Gorky’s Zygotic Mynci when she would lead thousands of opening chord from Bob Dylan the notoriously indifferent, if – may have hit all the right notes fans into dance. When she follows or from some indie club classic. not downright rude, reception musically, but his introspective this up with The Good In Goodbye, People sitting down at the back that London audiences comm- tone fails to cut through the everyone merrily bounces along begin to lean against the walls only afford a support act – usually oppressive heat inside the venue. as if it were 1998 again; but this instead and gradually the whole spending more time supporting The temperature was indeed rising, is 2006 and her triumph tonight is audience moves towards the stage. the bar takings than paying due but whether this was from the surely all the more sweeter on her At times, Antonia’s voice can attention – Stark commands an clamour of bodies still radiating own terms. seem screechy and at odds with unusually reverent silence. the day’s onslaught of sunshine or Befitting her rock icon status, fellow fields. vocalist Nick Peill, Clearly nervous and feeling rather from sheer anticipation I couldn’t Matthews later treats us to an but generally the pair have good exposed without her Lavender say; up in the balcony a Welsh enjoyable cover of David Bowie’s chemistry. After a seven-song set, Diamond bandmates around her, flag unfurls itself to announce Soul Love from his seminal …Ziggy including some of the new tracks she soon warms up, gleefully telling the impending arrival of tonight’s Stardust… album. It’s an apt choice on their forthcoming EP, notably us that her father was an escaped main attraction. for the moment, too, proving that Roll Down The Hill, the band convict and that her mother used In her days as Catatonia’s there can be an epilogue for rock depart to the genuine applause of to ask her to lie to the FBI, before outspoken figurehead, Cerys Ma- ‘n’ roll stars who take the well- the majority. pondering aloud whether this is tthews would often bound (and worn road to self-destruction. From tonight’s performance, it’s the reason for her lack of respect sometimes stagger) onstage, but With her fall from grace at last in clear that fields. are destined to for authority. Against all odds, her today she tentatively sneaks on reverse, the crowd’s affection for be more than just another support uninhibited ramblings and timid alongside her band. Armed with a Matthews is palpable and everyone band; they’re fast becoming head- giggles come across as genuinely cherry red guitar, she deflects the is grinning. When she comes back line material for smaller venues like endearing and the volume of sea of expectant eyes before her for an encore, a moment’s dread the Fleece. With just a little more appreciative noises soon racks up and bursts straight into new album that some drunken idiot might practice and perhaps a careful eye among the amassing throng. track, Streets Of New York. Visibly field an inappropriate request for on the watch so as to ensure the Between her affable anecdotes, overwhelmed by the sheer volume Road Rage or Karaoke Queen soon audience hear only what they’re Stark even finds time to treat us to of her band, Cerys’ trademark passes. Tonight, Matthew, it seems supposed to, fields. may eventually four beautiful compositions from lungs struggle at first to compete that Cerys is happy simply being turn into acres. her solo album Artifacts Of The with the reverberating power herself. Stephen Collings Tiffany Daniels

92 Wears the Trousers magazine Live

The Long Blondes Brel’s Port Of Amsterdam — a UEA, Norwich wistfully sexy black-hearted tale of May 18, 2006 a long gone time of swashbucklin’  filthy cabaret bars frequented by a shady clientele. The Dresden Dolls romanticise and capture this decadent and dangerous world and their concerts make it real for people disillusioned by their oversanitised, modern existence. Robbie de Santos

The Dresden Dolls Spiegelzelt, Berlin May 14th, 2006 

“We were so excited when we heard we could play in a mirrored tent” exclaimed Dresden Dolls singer Amanda Palmer as she took to the stage of the Spiegelzelt, erected temporarily for a nomadic mini-festival taking place all over Germany. But as the sunset glowed through the stained-glass windows Ladyfuzz of this curiously decadent, wood- Carling Academy, Bristol and velvet-laden construction June 30th, 2006 next to the railway tracks at East  Berlin’s former main station, what As is usually the case with place could be more suitable? After Bristol’s indie-funk-electro night With a little help from Rough slightly insecure. They embody all, The Dresden Dolls describe Ramshackle, the band that is playing Trade, The Long Blondes have the escapist songwriting spirit themselves as ‘Brechtian punk have not been promoted well. In recently blossomed from Britain’s of Burt Bacharach mixed with cabaret’ and are clearly thrilled fact, I’d go so far to say they’ve not best unsigned band to Britain’s the British realism of Pulp and to introduce their new album, been promoted at all. I’m a fairly best signed band and are finally the classic dancefloor/rock club Yes, Virginia, to the country that loyal Ladyfuzz fan and the first time able to give up the day jobs and versatility of Blondie, and they’re gave them their name, as well as I heard of this gig was when I was start touring the length of the prolific at it too. Bertolt Brecht and his weird and half-walking, half-falling down the country, spreading their perfect They played three new songs, wonderful theatre. lethally slippery steps in the venue. escapist pop. Having won the all of which received the same Since the release of their My friend in front of me stopped Philip Hall Radar award for excited response as by-now eponymous debut, the Boston dead, stared in disappointment new bands at February’s NME cult classics like Separated By duo has accumulated a dedicated, and exclaimed, “oh no, a band ceremony awards (and been the Motorways and Once & Never Again, passionate and numerous follow- are playing!” only band with a single female, let most notably the new B-side, You ing without attracting too much You can forgive the reaction; a alone three, to win an award), The Could Have Both, which features a hype or mainstream press, mainly live act is the last thing the sweaty, Long Blondes have been waiting spoken-word breakdown between on the back of word-of-mouth intoxicated audience want right in the wings for long enough. Dorian and Kate detailing the praise and blistering live shows. now. It’s 11:30pm and everyone They were subsequently invited post-university crisis that hits Tonight was no exception. Though is ready to dance. The arrival of a to open up the NME New Music us twenty-somethings so hard, the sun was still illuminating the band would usually mean hardcore Tour while three identikit emo- admitting “I’ve only got a job so tent from all sides and The Dresden supporters cheering at the front, indie bands secured the more I don’t disappoint my mother” Dolls are a band best served in drunk misplaced souls falling over coveted later slots, but you’ve before chanting “What about us?”. eerie, smoky darkness, Palmer and themselves in the centre of the gotta start somewhere, right? The crowd may not yet have taken drummer Brian Viglione conjured dancefloor wondering where they Daylight was still shining their AS-level exams, but the up such dark intensity that it could are, while the majority of the crowd through the upper windows as universality of The Long Blondes’ have been on a Caribbean beach sulk and wait for the performance The Long Blondes elegantly took themes, clever lyrics and classic and still been just as impressive. to end. But hallelujah! The venue to the stage in the University of tunes ensure that their appeal Like The Kills, the sparseness is comfortably empty, the drunk East Anglia’s gym-like student is widespread. of the arrangements (i.e. only people are slumped against a wall, union. Their quirky, second- It’s the penultimate song, Giddy keyboard and primal drums against and the sulkers? There are no sulkers, hand glamour rested uneasily Stratospheres, that best sums Amanda’s rich and frantic vocals) because Ladyfuzz are fantastic! in the cavernous setting, the up what The Long Blondes are makes the drama so much more Launching into My Summer MySpace teens who comprised about; it’s an epic 4:54, but so affecting and severe. As they look Of Fun and Monster, singer Liz the sell-out crowd still blathering completely perfect you’ll wish it at each other across the stage, all Neumayr rocks the electro look and away. But as the opening bars wouldn’t end. With its soaring the fierceness that’s found in a band it’s not long before the large crowd of single Appropriation (By Any choruses and Shangri-la-esque of five members is concentrated that’s gathered to watch these Other Name) chimed out and chants from guitarist Emma into a single, manic gaze. As with unexpected guests are dancing like singer Kate Jackson started her and bassist Reenie, the song all things cabaret, however, it’s not mad. The addictive chorus of single now trademark stilettos-and- has a certain snotty charm and all entirely serious. Early single Oh Marie is adopted and repeated drainpipes angular shimmy, the a middle-eight so yummy you Coin-Operated Boy is a cheeky at random intervals by those crowd were transfixed. During won’t know whether to laugh crowd pleaser and their cover of present throughout the night and their half-hour set, the band or cry. As they walk off-stage Grauzone’s Eisbär, a Swiss new the band look genuinely pleased. churned out would-be-hit after thirty minutes after their humble wave band’s ode to the polar bear, Rightfully so, this was the night a would-be-hit and many of their entrance, they can sleep soundly had the crowd waving arms and small three-piece band conquered strongest songs didn’t even get in the knowledge that they have singing at the top of their voices. an area of entertainment few other aired in a performance that should once again shown the boys Perhaps fittingly it was not one of bands have conquered before; they leave any band three albums into that their hegemony won’t last their own songs that captured the pleased a Ramshackle audience. their career feeling more than forever. Robbie de Santos evening, but a cover of Jacques Tiffany Daniels

Summer 2006 93