AUTUMN 2005 a women in music compendium wears the trousers flowering out of the attic

diane cluck antifolk’s latest next big thing rockin’ the cradle how kids’ music is growing up

plus: pooka beth hirsch & kamila thompson

40+ in-depth reviews of björk, , , sons & daughters and more... welcome to... wears the trousers “The only way that we’re going to get a wears the trousers good from [Tori Amos] in this day www.thetrousers.co.uk and age is if someone has the decency to abduct and kill her daughter.” 101 Hornsey Lane N6 5LW So wrote Stylus Magazine’s associate +44 (0)20 8347 9161 UK editor Dom Passantino earlier this [email protected] year when ‘reviewing’ , sparking off a furious reaction from fans and non-fans Editor Alan Pedder alike. It also expediated the birth of this, the very first issue of Wears The Trousers. Though such a profound lack Associate Editors of respect or compassion might be considered extreme by Stephen Collings Helen Griffiths anyone’s standards, the existence of a misogynystic ethos Rod Thomas in the music press is difficult to deny. Of course, there are always exceptions, particularly in the US where publica- Wears The Trousers is a completely free, not-for-profit, tions like Venus, ROCKRGRL and a number of others are blood, sweat and tears included setting things to rights. In the UK, however, the coverage of resource for all that is new, female in the press is limited at best. essential and downright exciting about the contribution of women Wears The Trousers therefore doffs a jaunty-angled worldwide to the music industry. cap to its US cousins and takes a resolutely Anglocentric All written content is copyright peek at the world of women in music. It is our answer to of the credited author. Picture credits are given where known. those who fail to realise that rock and credible music is not If we have used one of your naturally a male concept, but is actively produced as such photos without crediting you, in line with some ancient misconception that proliferates please inform the editor via [email protected] the belief that what’s a correct or incorrent behaviour for a woman is different to that of a man. We believe that female Contributors: artists, and British female artists in particular, go under- Ian Addison, Ian Buchan, Endre Buzogány, Robbie de Santos, Alex represented in the media and this is our way of celebrating Doax, Jane Gillow, Sean Hudspeth, their music, regardless of genre. Gillian Masland, Scott Millar, Adrian This launch edition of Wears The Trousers comes to Roye, Jacob John Stevens, Bryn Williams and Simon Wilson you courtesy of many a late night and relentlessly tugged at hair follicle. But now it’s here, we’re utterly proud to Illustration: bursting to share it with you. Read on to find out why Mark Stevens Shelly Poole has made the weirdest album of her career, Design and Typesetting: why children’s music is all of a sudden so cool, why a man Alan Pedder fed his daughter to a ravenous horse and, in case you too Special thanks for moral support: were wondering, what the hell ‘antifolk’ actually means. Beth Dariti, Anja Hagge, Lucy Hammond, All that, plus much much more. Enjoy! Khairil Hodgson, Dana Immanuel, Allison McInnes, Jamie McDermott, Jacqueline Murphy, Negin Nassabeh ALAN PEDDER, Editor and Sarah Newitt [email protected]  CONTENTS AUTUMN 2005

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04 DIANE CLUCK Punctuation-shy antifolker gets willfully abstract

06 KAMILA THOMPSON Ravenous horse eats woman! You heard it here last. 14 09 POOKA We go in search of the ‘90s sonic shape-shifting wonders that were. 33 NEW RELEASES

14 SHELLY POOLE 52 Flowering free of the Attic 55 IMPORTS 22 BABY BOOM Why music’s coolest are lining 58 MUSIC DVD up to rock the cradle. 64 BOOKS 26 BETH HIRSCH Reflecting on Early Days 66 LIVE

29 RICKIE LEE JONES 70 COMING SOON Navigating the career of a true original 22

 dianeinterview by alan pedder cluck photos by luca etter

 DIANE CLUCK DIANE diane cluck is telling stories but speed up my need to make music when i began losing interest in pi- giving nothing away. so far, so tho i don’t feel the city as an influ- ano felt more mutable and journalistic cliché you may think, ence anymore subtle i like the way guitar works but there are precious few better with my body ways to describe the emotional rumour has it that you’re a nu- snapshots that constitute her tritionist by trade. any top tips how hard has it been for you uniquely and unflinchingly poetic for staying in good voice? to sell your music? are illegal songs. from her coolly narrative i often drink sage tea with honey downloads really harming inde- early work to the electric internal- before and during shows it helps pendent artists? ising of this year’s oh vanille/ova to open up my voice and ward off i haven’t been trying to sell music nil, cluck has a way of sequester- infection so it hasn’t been hard sometimes ing secrets and smuggling them i sell cds or get paid for shows and into your heart. stylistically, her is there a story behind the title sometimes i don’t origins lie closer to the circum- oh vanille/ova nil? i’ve never been harmed by an il- ference of the new york antifolk there is a story i actually just de- legal download people should do movement, a seemingly boundless leted it after typing it out and rev- what they like upload, download, reservoir of the offbeat and arty, eling in its cuteness i was walking freeload it doesn’t bother me as an than to the lilith generation – her over the williamsburg bridge last artist assorted satellites and contempo- night thinking about how when i raries include cocorosie, regina was a kid i had this bossy habit what does the term “antifolk” rep- spektor, julie doiron, the moldy of telling my little sister what the resent to you? do you think it’s a ’ and new- ‘right’ lyrics were to the pop songs true reflection of your songs? comers , rachel lipson, she was singing she’d have her okay a n t i f o l k to me at this and marissa nadler. but ask diane own language and associations all point if it means anything means if she feels like a part of some- worked out happily singing away people who don’t give or get points thing cohesive, a unit of sorts, and then i’d come in telling her she was for having technical chops with- you’ll get short shrift. in fact, ask wrong i still remember the look out an open heart to back it up her anything and you’ll rarely get of hurt and bewilderment on her basically, you could be all heart a fully-formed, straight down the face then i was like ‘why should i and no technique and you would middle, neat as you like packaged tell people what things mean ?’ i be respected the antifolk crowd i response. i warned you in the first don’t enjoy it i feel like i’m rob- knew was very keen and discern- sentence, remember. bing someone of the experience of ing on this point in some ways it’s integrity, it seems, is her plot standing in the wonder of their own the only identifying characteristic device, the thing that keeps her go- interpretation i mean, i could tell behind a widely diverse group of in- ing, delivering truths and uncon- you exactly what the title meant, dividuals i don’t call myself anti- ventional homilies in a revelatory to me but i’d be more interested folk tho i don’t fight the label and queerly clipped vocal. though in hearing what the title means to she describes herself simply as you [when i later offer her a some- what’s next for you? are you play- “seamstress, songstress, cook and what convoluted explanation involv- ing in europe any time soon? wife”, she does still parade a minor ing juxtaposition of the vital and the next i am going to go to sleep artistic conceit – when i catch up mundane, ignition and extinguish- i thought too much about these with her over email she instructs ing, she sweetly thanks me for my questions and it made me tired me not to rearrange her sentences, opinion and says no more about it] thinking uses up lots of energy if or add punctuation or capital let- i’m going to be interviewed again i’d ters because she finds them “sort do you consider yourself a femi- like to be more thoughtless about it of depressing”. what the heck, con- nist? does it hold any meaning next i am moving house to live formity is the refuge of the imagi- for you? with my friend lauren luloff who natively challenged anyway. punc- i don’t consider myself a feminist the makes amazing paintings tuation be damned. word or concept has never interest- next i am finishing work on an ed me i know it’s loaded for some album and then another one and there seems to be a definite rural people so it’s better left to them then i would like for there to be a and worldly quality to your lyrics break from next which makes me wonder if you’ve what made you first pick up a i made a six-week tour of eu- always been a new yorker? does guitar/sit down at the ? rope and the u.k. (sic) with herman the city influence your music? i have early memories of being dune this past spring that was by i grew up in lancaster county, fascinated and shy around far the longest tour i’ve done i was pennsylvania it was quite rural like i was in love or had a crush glad to find myself falling apart and then, less so now tho it still has a i don’t know what made me holding up along the way now my noticeable amish population city pick up guitar for the first time i belly feels full of touring for awhile life seemed to bring on or at least picked it up for the second time what’s soon ? what’s awhile ? <



If You See Her, Say Hello... As the daughter of seminal folk pairing Richard and Linda Thompson, 23-year old Kamila Thompson has had a firsthand (not to say unavoidable) education in music and the challenges of making a living as a performer. As with the other fearsomely gifted and emerging offspring of renowned singers, and instrumentalists of days gone by, the question remains whether these kids – who include Eliza Carthy and Rufus and Martha Wainwright to name but a few – merely pulled a lucky number in the eternal sperm lottery. Gillian Masland begs to differ. This second generation of artists knows what the job entails; endless months on the road, long hours of rehearsals, the agony of a show or a note that misses the mark. It’s a very public story of stepping up and taking your place in the family business, observed and absorbed since birth... : If you could adapt any story to song or form, whi- ch would you choose and why? There’s a story from Ancient Greek folklore about a young girl called Leimone. Her father caught her having a romantic tryst before mar- riage and consequently fed her to a

KAMILA THOMPSON ravenous horse. I think that could pack a punch.

The guilty pleasure in your record collection? I’ve still got my Snoop Dogg records from before I understood what a pea- brained, unsavoury woman-hater he is. I wouldn’t buy it now on those grounds. You couldn’t get me to chuck it, though...

Can songs that refer to a spe- cific set of circumstances have a universal appeal, or is it the responsibility of the to omit certain details so the lyrics are accessible to a wider audience? I think if you mean what you’re saying, it’ll resonate The first time I saw Kamila per- What was the first you with people. The less meaning be- form was in May 2004, opening for attended (not including those of hind a song, the more performance her brother Teddy at an intimate your parents)? I can’t remember you need to bring it to life. I don’t show in London. Accompanying – that’s terrible, isn’t it? I saw The think that’s a bad thing at all, it’s herself on what appeared to be a Eagles play a massive stadium gig in just a different thing. Some of my bright pink guitar – which may or Boston when I was really young and songs mean absolutely bugger all, may not have had her name em- that was an early lesson in how tight but they’re fun. blazoned across it, hardly the mark a band really can be. They’re so slick. of a shy folk troubadouress – the What’s on your summer read- talented Ms Thompson belted out Who do you feel really wrote ing list? I just started [ a half dozen songs with a fresh, the book with regards to live autobiography] The Chronicles, confident style, pausing briefly to performance? The Band. They which I’d been saving. I just read quiz the audience, “Hands up, who were stupefying, I wish I could have James Frey’s two heart-shaking- here wasn’t at school with me?” seen them. novels one after the other and She recently took some time to loved them. Next on my hit list enlighten us all on the finer points Who are your greatest musical is The Time Traveller’s Wife by < of growing up in a musical family, influences? It’s the musicians I Audrey Niffenegger. her summer reading list and the grew up around who were always perils of pre-marital sex in Greek playing, always telling stories. Old Following her show-stealing support mythology... duffers who’ve never entertained slot for Marty Willson-Piper (yes, he the thought of doing anything of The Church fame) at London’s Can you describe your sound in but make music. I think that’s legendary 12 Bar Club in August, five words or less? Unfussy, me- how you should feel about it, ide- Kamila will be playing at the Lark lodic, bluesy, roughly-tuned. ally. I’m taking an IT course in In The Park pub on case it all falls through, of course. Street, Islington on September 7th. rebelled stylisti- Catch her if you can, it might be your cally as the result of coming from Who was your childhood idol? last chance before she goes to New such a famous musical family? Do you have any regrets, or still York in October to start work on her I don’t think so, I got tattoos in- carry a torch? I had a massive debut album. You can keep tabs on stead. I don’t really write folk mu- thing for when I was her progress through her all-new sic, but I’m sure there are hints of about nine. I thought he was the official website, which you’ll find at it here and there. second coming. www.kamilathompson.co.uk.

 in search of...

Pookainterview by Alan Pedder When half-Welsh, half-Irish artist Natasha Lea Jones met singer and multi-instrumentalist Sharon Lewis in a comedy club in 1992, each knew they had found a kindred musical spirit. A spirit by turns as enchanting as it was mischievous, which lent itself more than a little conveniently to their chosen stage name, Pooka. Look it up in the dictionary and you’ll read that the pooka of legend is a shape-shifting pixie creature that can turn on a pinhead from something adorable to a small thing possessed. Within a year, they had secured a five-album deal with WEA, and in August of 1993 released their acoustic eponymous debut. Just one problem. The world at large was too busy popping club drugs and tripping out to appreciate the extraordinary vocal arrangements and unique textures of their double barrelled aural assault. Although the album was critically acclaimed by critics and fellow artists alike, a change in the label’s management soon left Sharon and Natasha in the cold. Their second album, Spinning, was issued in September 1997, three years after work began on the record. During that time they were briefly signed to Rough Trade for two 7” singles, but that too fell through before they were res- cued by former Rough Trade founder Geoff Travis with his new imprint, Trade 2. After an extensive tour in support of the album, the duo parted company with that label too and began working on the 5-track

 POOKA

Monday Mourning EP, which was with both of them; Natasha at her Top Ten chart knockers, but we released in October 1999 through treasured stone cottage in Dar- were just as sexy in our own te- the French label Telescopic. They wen, Lancashire, and Sharon on nacious, daring, “fuck you” way. subsequently worked simultane- the last date of her Transatlantic and we came out with some great ously on two very different Tales tour with US singer-song- equipment and means to do our – one orchestral (Fools Give Birth writer Rose Polenzani at London’s own art, without having to an- To Angels) and one comprising historic 12 Bar Club. swer to anyone. The people who dark and twisted (Shift, talked about us failing were the produced by Brian Duffy). While It seems to me that you’ve had bureaucratic managers and heads the former was independently is- some really unfortunate luck of record companies who didn’t sued, Shift got a commercial re- with record companies over the have a clue what a good record lease in July 2001 by none other years. Did that have a damaging sounds like. They just wanted us than , risen effect on the band, your morale to go anorexic and show our tits. phoenix-like from its own ashes. and friendship? This is what caused the tension in Not a little ironically, the listening Natasha: It’s interesting that some our friendship. Sharon and I had public had by then woken up once people have a perception that we a really go for it positive attitude, more to the charms of the acoustic had bad luck. Other people per- which we still have. We were kids movement, but the duo decided to ceived us as the luckiest kids in but we didn’t like being controlled finally call it a day. the country. We were signed dur- by the adults with all the cash. We That was four years ago, and ing the recession in the 90s, how knew what we wanted to give mu- in the meantime both have inde- lucky is that?! We had a really sically. and that’s what we did. pendently released their own solo strong attitude to rebel against Sharon: We had good luck and records – Natasha’s beautifully all the cheesy pop crap that was bad luck. I think the bad luck was rousing The Morning After was is- going on at the time and we suc- probably due to the time that we sued in 2003, while Sharon’s spell- ceeded. We paved a path for bands released our record. A lot of acous- binding The Hour Lilies arrived in like Coldplay, and even were tic music wasn’t being played on 2004. By the wonders of modern inspired by some of our music. the radio, it was just not what eve- technology, I was able to catch up Okay, so we weren’t ryone was into. Just working in-

10 tensely with someone is really hard did that. Actually, on Fools Give When did you both decide to do POOKA on a friendship, whether you’re re- Birth To Angels, half the songs your own solo albums? Was it ally successful or you don’t meet were recorded, produced, written something you always intended? the goals you set. But we’re still and arranged by Natasha in Man- S: I think I decided pretty early on. friends, we have a really special chester and the other half by me I still had loads of songs that hadn’t connection. I’m always amazed by in . I used my musicians been recorded so I was pretty de- bands that have really long-term and she used hers. So it was quite termined. We both have our own relationships and friendships. I a strange album to make. studios so there was no reason why think Pooka went on as far as we N: For me, It has to be at a gig at not. It took a while to build my con- could but perhaps we’d have more The Borderline. We did this gig fidence up as a solo artist, andI luck now. Being a bit older, I think using in ear monitors. It was our feel like I’m still doing that now. It’s maybe our friendship and our first time with them and there was been really inspiring being on the working relationship would have this glorious moment were Sharon road with Rose, because she’s al- been better. and I could hear absolutely eve- ways been a solo artist. Some mu- rything, all the band playing and sicians you work with are just play- Your electronic album Shift seem- each other. and when I looked at ing their part and not really feeling ed to baffle some of your fans and Sharon she was smiling at me and the music. I think the difference critics alike, but I loved it. What we just knew we were together be- really shows with Rose. inspired you to make it? cause we could actually hear each N: For me. it wasn’t so much a S: Well, the whole concept of Pooka other. Unfortunately the ear moni- decision, more an occurrence. It right from the beginning, why we tors were so loud I couldn’t hear just happened. I feel very lucky that chose the name, was that we want- a thing after the gig for a whole I have a life were that can just hap- ed to be the sort of band that would week. Another moment has to be pen. It took a lot for Sharon and I to be really open and experimental. recording Higher for Spinning. gain the equipment to nurture our So that’s why with each album we The producer Joe Leach, who was musical fetishes, and we relish it all tried something different. The first also a good friend, decided he was the best we can! Rose is fantastic. album was acoustic, the second going to cover me and him with a It’s great to see females show the more rocky, the third album elec- duvet and record the guitar while lads how it should be done. tronic and the fourth, Fools Give under it and sitting in a wardrobe Birth To Angels, was orchestral. lined with even more duvet covers. What did you enjoy most about We never wanted to be pigeonholed It took five takes for me to focus on recording your own solo albums? really. Maybe that held us back the delicate guitar part and then S: It’s been really liberating actu- in some ways, but it was what we we went for a full on take. It was ally. Although we actually pro- were striving for. I think we fulfilled getting very hot, and right in the duced Fools Give Birth To Angels that goal. We met Brian Duffy when middle of the take Joe began to let ourselves because we took total we living in . He’s just out silent yet really stinky farts. control over the arranging, record- such a talented man so it was re- So the whole take on the album ing and production, engineering ally exciting to have the chance to in the background has me laugh- and mixing. So I guess doing my work with him. ing under my breath whilst trying first solo album was like an exten- N: We always strived to explore all to breathe and play without mak- sion of that. Being in control again. aspects of our creativity. We weren’t ing any mistakes, all at the same There were definitely times where afraid to be electronic. We weren’t time. It all added to the perform- you go through creative highs and acoustic guitar folkie snobs. and ance. Every time I smell a fart I lows, but Rose was just saying on we didn’t give a shit if people called hear Higher, and every time I hear this trip that I’ve been teaching her us “folkie” ether. We loved folk mu- Higher, I smell fart. perseverance. When you’re involved sic but we thought computers were in the industry, it’s all about when shit hot too. Why have one when Is there any one Pooka song that you’re gonna get played on Radio you can have both? means the most to you now in 1, and if you don’t get played on hindsight, and why? Radio 1 you’re a complete failure What’s your favourite memory of S: The ones we wrote together like and y’know, when you’re in control the Pooka years? This River and Rubber Arms. I also of your own music, you have your S: I’d say, musically, making the really like One Day We Will See on own goals and your own beliefs and Monday Mourning EP. I felt we re- the Monday Mourning EP. That’s you follow through with those. ally worked together in producing one of Natasha’s songs, it’s really N: I can’t really remember record- that. A lot of the time we had our beautiful. ing The Morning After now, I’m too own ideas, but on that one we real- N: I was really happy with Higher, busy focusing on the next album. I ly came together. It was really nice The Insect, Spinning and The Rock- think Sharon’s record has a really and that didn’t happen often. It got ing Chair. My favourite Sharon Lewis unique delicateness about it. It’s a bit divided towards the end, like track is called This Is Like, and it’s great for me to put on some Sha- this person did this and this person on a CD by Sophie Moleta. ron Lewis music and to be able to

11

POOKA

just enjoy it without thinking, “Oh lot of love to give people. Musically, Have you ruled out any chance of I could have sung that harmony a I’m really pleased that I’ve got my a Pooka reunion at some point in bit closer there” or “That bit’s out of head around arranging songs. And the future? tune, let’s do it again.” learning to play the piano (e.g. on S: [laughs] You missed it! It’s hap- Birthday), I’m happy about that. pened already. That was actually Anything you’re most proud of Proud of it all really. Not done too Rose’s favourite moment of the tour, on those albums? badly for a working class lass from getting to meet Natasha for the first S: That’s really difficult. I guess I up North. However, there is always time. She wanted us to sing togeth- really judge my songs on what ef- the next challenge. er for her, so we did. She actually fect they have on other people [Rose got up on stage with us and did a later tells of how Sharon’s dad cried What’s that then? three-part harmony [Rose later de- when they played the tremulously N: At the moment, I’m campaigning scribes the experience as a fantasy poignant Lost Soul from The Hour to save people’s homes from demoli- come true]. It was lovely, but I don’t Lilies together earlier in the tour] and tion by the Government and money think it’ll become a permanent ar- the ones that, y’know, get the most mad planners (see www.savebritain- rangement, sorry. < feedback. I like the songs where I sheritage.com for more info). Other feel like I can be really honest, but than writing and recording the next The Pooka album Shift is avail- I’m also a bit afraid of them as well. album, I’m also working on some able from all good music shops. It’s a very personal album. It’s a bit dance tracks and writing songs The Hour Lilies and the Monday scary to release an album like that, with kids, as well as teaching gui- Mourning EP can be ordered direct- but then when I get feedback from tar which I’m really enjoying. ly from www.sharonlewis.net. The people about what the songs mean S: I’m going to record some new Morning After is available through to them, it’s really reassuring. songs for the second album [she www.natashajones.org. The secret N: Sometimes music is a calling card later plays three of these – Sweet- album Fools Give Birth To Angels to reach out to someone and ex- heart, Waiting Time and Interrupted can be purchased through either plain something deeper, and reach Angel - all of which are understated- website. Pooka’s first two albums people in a way that eliminates ly majestic]. I’m also working with are currently out of print. our inevitable impending threat of other musicians in Brighton. I re- loneliness. If someone says “that ally like collaborating with people. left: Sharon and Rose Polenzani on tour in Corn- one” then it goes down in my book I’ve got a friend in Brighton called wall, taken by Paul Johnson. See more photos from the tour at www.rosepolenzani.com. top: as “I possibly reached someone to- Paul Chi and we sing together a lot. Sharon doing yoga on Brighton beach. inset: day.” Sharon and I always have a We might do something together. Natasha Lea Jones.

13 je m’appelle

MichelleShelly Poole has struck out on an unusual tangent. Out of the smokescreen she is walking, her head held high, green eyes softly blazing, leaving the modern miasma of mechanical studio pop behind and drowning in the slick of its own production. Behind her comes a small and shuffling army of the UK’s finest musicians, content to let their newly-blonded trailblazer front up for their collective cause. Her mission: to bring honesty, beauty and homespun truths back into the fold. Her weapon: one of this year’s most beguiling albums of finely crafted pop. Her tactic: shameless incubation! Er, come again? A puzzled Alan Pedder caught up with Shelly on a balmy late summer’s eve to ask her what the devil she thinks she’s playing at. Along the way, she showed him how to work the world’s weirdest instrument, revealed who inspired her first ever naughty thoughts and explained why her debut solo outing is the strangest album she’s ever made… :

portraits by Ally McErlaine Michelle SHELLY POOLE

Keeping it real is something of a ut of our emotions. It’s lonely, sad, ar Daddy, was a saccharine slice preoccupation with today’s pop painful, glorious and happy. Real- of pure Europop as it used to be, megastars. Cynics would say it’s ity is domestic, reality is dull, and, before the genre became post-mod- simply the oldest PR trick in the as Shelly herself has so succinctly ernly self-referential and achingly book, that the way to a consumer’s put it, it’s a bloody hard time for us ironic. Though it has since obtained heart is to provoke them into think- cloud-headed dreamers. a degree of notoriety among aficio- ing they are special, no matter how At 32 years old, Shelly Lena Poole nados of all things disco fromage, ordinary or modest their lives. The is in the enviable position of do- ‘Keren & Chelle’ were never heard principle relies on the malleability ing what she loves, what she has from again, aside from an obscure of those who will follow the mer- always loved ever since she was a but equally snappy track on Japa- est sniff of authenticity, believing it little girl growing up in glamorous nese compilation That’s Eurobeat holds a passport to a world where Dagenham. Her father Brian was Vol. 33 in 1992. Other jobs came someone like Jennifer Lopez will once the lead singer of British in- and went, including a spell spent hoist off her diamond-encrusted vasion superstars teaching in a Montessori school in bidet and descend like Aphrodite (whose later frontman Chip Hawkes London, but the music never left. to disperse the glittering prizes of sired 1980s also-ran cheesy Ches- Re-emerging from a tuneful cocoon love and understanding. Oh, and of ney), and by age 13, she and big in 1996 as Alisha’s Attic, the sisters course world peace. In truth, reality sister Karen had already cut their released three albums, had eight is more complex, running the gam- first side as a duo. The single, Sug- Top 40 singles and were alternately

16 SHELLY POOLE SHELLY lauded and vilified by the press be- from this critical watershed, but pers Peach), Ally’s talents were oc- fore calling it quits in 2001. “The with Shelly on her side, Ms Bun- casionally called upon. “He’s awe- good thing is we were pushing but- ton could well be the first. some,” she gushes. “Really! The best tons either way,” says our ever prag- I ask Shelly what it is exactly slide player I’ve ever seen.” matic heroine, “we were never just that she gets out of these sessions, I ask whether working with liked. We were either fucking hated to which she replies with unchar- Ally was more or less fractious or really really loved.” acteristic guardedness, “It’s really than working with her older sister. So is she at all bitter? “Absolute- hard work. It’s rewarding as a writer “Probably equal,” she giggles. “Ac- ly not! We were what we wanted to to experiment with different styles, tually, I think it can be a really bad be and that’s exactly what we did. but if you’re doing it for soulful rea- move to work with your partner, be- I don’t believe we were meant to be sons, it’s an awful lot of work. It’s ing brutally honest. I have become bigger or smaller than we were. I re- like a nine to five, very rigid. To me, this weird hideous monster I didn’t ally do think that we created what because I’ve never worked like that, know existed. I am so bossy!” we meant to create. We were really it was sometimes difficult. But at But when you’re so passionate bloody lucky actually.” the end of the day it’s all good, it’s about something that you want it With their debut single I Am, I . I don’t think there’s to turn out perfectly, that’s okay, Feel released just two weeks after anything better than talking about right? “Oh god yeah, that’s exactly the similarly feisty but musically music. I could sit and talk about it what it is. But try to explain that stunted Spice Girls were unleashed all night.” to someone who loves you for you, upon the planet to such immense She’s not kidding either. Our outside of that stuff. Karen is my success, a lesser person would per- allotted hour somehow becomes flesh and blood so we’d just forget haps harbour some regret of being three, noticeable only by the dark- about it. We’d say vicious things so narrowly pipped to the post. Then ening cloudless sky as we sit in and just say oh ok, well, that hap- again, when were the Spice Girls the garden of a North London pub pened. Whatever. So I don’t think ever nominated for an Ivor Novello facing out onto Hampstead Heath. we’ll work together again unless I award in honour of their songwrit- I get the feeling that her relaxed ask him to guest on something.” ing? In 1997, I Am, I Feel was short- chatter is not just a reflection of “Actually, this was the weirdest listed for Best Song, Musically and our vague acquaintance but a rare album I’ve ever made. Completely Lyrically, but was improbably and and incredible openness. She is different because I could do what I inexplicably edged out by Brian unafraid to speak her mind and be liked. Usually there’s other people to May’s schmaltz-ridden Too Much frank where others would shield please, especially with a sister. With Love Will Kill You. Go figure. themselves away, but she also Alisha’s Attic, although the song- That year also saw them nomi- knows when to invoke the gods of writing was very easy and came re- nated for Best British Break- tact, a reflex built up over years of ally quickly, the rest of it took ages. through Act at the , press interviews. This we played live. All live. Really this time narrowly missing out to “When we first started out in vibey. I’d go home at night after do- Kula Shaker. Still, regardless of Alisha’s Attic, there were lots of ing the track with Paul, put it in my the industry’s failure to reward rumours about me going out with computer, have a couple of glasses their talents with silverware, the Michael Hutchence. Every time girls’ songwriting was rarely called we did an interview they’d ask me into question. Their knack for about it. We never, I bloody wish! constructing quirky, hook-laden Actually, no I don’t, but he was pop music and layering on thick quite a soulful boy, really musical. washes of sororial harmonies won I used to love , guys with them legions of fans. As it turns big hair and tight pants on. Why out, they have had many a last wouldn’t you?” laugh over their former chart ri- These days, Shelly is happily vals. Both Karen and Shelly have married to Ally McErlaine, one of enjoyed huge success as behind- the industry’s most sought after the-scenes songwriters, working slide guitarists. After much debat- with Kylie Minogue, Massive At- ing, she chose to continue per- tack, , Will Young, forming under her maiden name, Rachel Stevens, the mostly because even she once had and many more. Tellingly, one of trouble pronouncing the other and Shelly’s latest projects has been didn’t want to confuse anyone else. to help former Baby Spice Emma Though most of the guitar on the Bunton tackle that most dan- album was played by Shelly her- gerous of all Spice projects – the self in cahoots with her songwriting third solo album. So far, not one partner Paul Statham (who some of them has escaped unscathed may remember from 90s indie-pop-

17 of wine and do all the vocals in one “The stories came first, but not level, there’s never really a limit on take. We got a nice fluid sound. Oh, in any shape or form. Then it was it because as a you never and of course I got to do my own the melodies, so I’d write the music, really fail. This is an album that backing vocals as well.” sometimes with Paul, and then sit at we’re hopefully gonna grow and That must’ve been odd, I reply, home and la la la along to it before people who like it will buy it. People given that you’ve always built up putting the lyrics to the melody. But who don’t like it won’t. And I get to your songs through the use of har- I got all the stories first. You can find sing it and that’s what I want. It’s mony. “Yeah, I used to do a lot of different ways to say things. I don’t very back to the way things should SHELLY POOLE the planning of the backing vocals need to actually say ‘oh, you let me be, actually nurtured. The music but I never got to sing them. So this down’, I can say ‘ooh err, you don’t being fully from the artist and not was quite weird I’ve got to say.” own me any more’, stuff like that.” about a good marketing budget. It’s Good weird or bad weird? “Oh, Was there ever a time where she gonna be very low-key.” so much easier. Even though you thought she’d never make it to the “My life is very simple. I do what don’t have someone to feed off, it’s end product? “Yes! I’m rubbish at I do, I don’t have any other hobbies. so much easier because you can finishing stuff. I can’t finish any- I don’t watch Big Brother, I don’t please yourself. And that’s really thing. For me, the song will be like like celebrity things. I do the music what you do it for isn’t it? You think that forever and revisiting something I love, hang out with my friends. I that someone out there is gonna once you’ve put it to bed is not good. don’t get cross about stuff on the like what I like so hopefully I’ll bring It should be of the moment in time. telly. It is what it is. If people wan- it to those people, that they’ll want It was really hard but it’s good, I’m na be led by image, fucking great. If to hear what I’ve done. So if you glad it’s done. When we finished Ali- you look fabulous, go for it! If you please yourself that’s a good start. sha’s Attic, Karen and I sat down and don’t want to be led by that stuff, I wouldn’t really ever go back to the she said ‘y’know, I think we’ve taken don’t do it.” other way, that’s the trouble.” it as far as it can go. I’m gonna go off But what about artists that So no more Alisha’s Attic, ever? and write’. And I was thinking I’d go are fixated on money and mate- “Well we will make another CD for and sing with a piano, you know, do rial wealth? The relentless pursuit our fan club [their first, The Attic some or something. But then I of ‘keeping it real’, does it have any Vaults 1, contained twelve pop nug- thought no, I’ll just write. And then value? She seems a little surprised gets equally as loveable as any of I was like, no, I’m just gonna sing. by the question. “Some of that music their previous offerings] and we might I went to and fro for ages and then I absolutely love. I don’t care where possibly do another tour one day. one night I sat down and wrote it comes from. Before, when I was So you know there’s always room Totally Underwater in about five young, I would have hated the fact for that, because we both loved it. minutes and I thought, you know, that someone like Natalie Imbruglia It’s just got to be right of course.” that’s really good therapy.” made it because she was from Neigh- In the meantime she’s got her The rest, as they rarely say, is bours, whereas actually now I like own album to promote. Signed to history in the making. But is it re- her voice and some of her songs I the fledgling Transistor Project la- peating I ask? “No! I don’t wanna love. I’m not a musical snob, I either bel, a new digital development ini- compete with Girls Aloud, I’m 32! love it or I don’t, and if I love it, I’ll tiative sprung from the grey matter And I can’t dance. I’m the most listen to it no matter where it comes of Blur’s Dave Rowntree and Queen rubbish dancer in the whole world. from. I’m not bothered about stylistic manager Jim Beach, everything is You know I would have been happy stuff. I care about what I hear. A lot in its right place for Shelly to take really singing in a bar if I could’ve of people don’t even listen to lyrics.” her rightful position in the canon just sung. And earn enough to pay Speaking of Ms Imbruglia, her of classic singer-songwriters in my mortgage. That’s the trouble. former manager was responsible for the vein of Carole King and Rickie Our strategy is a soft release.” introducing Shelly to Italian New Lee Jones. I ask her whether her A what? Is that an official -in Yorker, Jack “he’s so gorgeous” Sa- new songs have a common thread, dustry term? She laughs, “I don’t voretti, a 19-year old singer-song- a central theme. “Actually I think know! We might have made it up. writer who refers to her mainly as there’s loads. Discovery’s a big We’re incubating this album be- ‘the crazy lady’. Initially drafted in one. It’s a really personal album. cause we don’t believe it’s a major to help him construct songs for his Put it this way, everyone knows label thing. I would be completely forthcoming debut album, Shelly which song is theirs. The people lost in the big scheme of things and quickly realised that their voices I’ve written about know and prob- I don’t want to be. My made for a tasty combination and ably feel very uncomfortable when are good enough and believe in it invited him to guest on her record. they look deep down into it, but enough to incubate it in this way, “He’s a Bob Dylan type of writer. I’ve done it in a way that, for me, to try and build it to a level where He writes travelly, been-on-the- it’s lovely just to get it out, but for we can then take it to the next planet-for-years type of songs, but them it won’t be too hideous. Only phase. If you’ve made a good album he’s not old enough to know those I’ve said what I’ve got to say. I’m in your own mind and you get the things, I don’t get it. He’s an old putting it to bed.” chance to try to take it to the next soul, you know. When he sings,

18 “I’m the most rubbish dancer in the whole world” “A woman always wins!” SHELLY POOLE SHELLY you’ll see it in his face. He means rule that I can sleep with Prince or tour across the . “That every word. He’s very sure of what Neil Diamond or Al Pacino.” And who was probably one of my top top mo- he is and what he’s doing. There’s does he get to sleep with? “He doesn’t ments,” she grins. “All the people no manipulating this boy at all. It’s get to sleep with anyone. Of course.” on it were amazing. We met every- very impressive, I was dumbstruck. But of course! “Do you remem- one – , Susanna I’ve worked with loads of people and ber the Prince song, Let’s Pretend Hoffs – she was my idol when I was for once I was like, great.” We’re Married?” she asks. Not re- younger. I was so impressed with “We sat down and wrote Hope as ally, I say. “That really changed my every woman on that bill. It was a duet, only we had a big jokey ar- life. It gave me my first sort of per- great to be included. Anything to do gument about it because I wanted vy moment and from then it just with getting artists together and out to be the woman who says you re- went downhill. I started thinking on the road is a good thing. I think ally broke my heart and you have wrong things! That was probably the music industry is pretty equal to be the one to make up with me… 1983… I was only 10 or 11, some- sex-wise, but I think any way to because I want all the boys to fan- thing like that. I was young and fool- get music out there to the masses, cy me and all the girls should hate ish. was a big influence whatever tour it might be, whatev- you. And he said no, it’s gotta be on me too. I Know What I Know from er unique theme you use to get the the other way round. I wanna be the Graceland (1986) was really impor- people in, is good.” one to say ‘oh, she’s such a bitch’. tant to me. It’s quite worldly.” So she doesn’t think that women But a woman always wins!” There’s a similarly worldly feel get a harder time of it? She shakes Savoretti also duets on Anyday to her own album, not just in the her head, “It’s always going to be the Now, a track that Shelly says was lyrics borne of experience and re- way that men who write tortured based on the Kleenex-endorsed Mer- gret, but also in the finely detailed stuff get hailed as sensitive types, yl Streep/Robert Redford movie, Out instrumentation. “We used quite a while women who do the same get Of Africa (1985). She tries to explain few weird instruments,” she says. labelled as moaners. If women say it to me but I’m lost by the first sen- “Paul’s got a big basket of strange what’s actually going on, we moan. tence. Meryl gets syphilis? Clearly bits and pieces that you can buy in It’s just the way of life.” that bit just whizzed right by me as a Camden really cheaply. We didn’t But do people treat her different- child. I try to pull my best confused know their names, we just kinda ly now she’s gone solo? “Hmm, I’ve face but she’s hit her stride and then made noises with them. There’s a never thought about that before,” some. There’s absolutely no doubt moon lute on Totally Underwater. she says and takes a sip of wine. “In whatsoever in my mind when she fi- That’s quite unusual. We played a band, you’ve got someone to lean nally exclaims, “God, that part of the fingernails too.” on when things get harsh. Some- film really stayed with me forever!” She leans over, forms a heart one to bounce off of, to take half Suddenly, I feel desperately un- shape with her hands and starts rub- the heartache. On your own, it’s cultured and hurry to the next ques- bing her fingers together. “It’s quite better because you’re doing it for tion before she realises. Sadly, bull- good percussion. Put it through a mi- yourself. If they don’t like me, they shitting is not one of my fortes and crophone and it’s gorgeous. Try it!” don’t like me. Usually I would feel she grabs my arm and says, “Watch I quickly conclude that I must bad for Karen or I’d have some kind it again! It’s the most romantic thing be calcium deficient or something; of pang for us as a unit. Whereas ever! It kills me that film. Robert mine sound more like a vague and with me, I can take whatever, I’m Redford’s just gorgeous.” Still? “Ab- muffled chaffing than the clickety very hardened to it. They can come solutely, I like old men. Have I got clack of hers, lacquered and strong. see me about it if they don’t like it. it all wrong?” Still, there’s the potential for a Mat- Do you know what I mean?” Actually, no. Johnny Depp is thew Herbert or in So there you have it. Shelly Poole 16 years my senior but I definitely there somewhere. has laid out her manifesto and will would. Does that count as old? Prob- Two days later, Shelly is playing take no prisoners, shortcuts or ably not to Shelly. She counts 64- her most high-profile solo show to handouts. Armed with organic pop year old singer Neil Diamond among date at The Borderline in London hooks big enough to dangle your the three sexiest men alive. “I went to in support of labelmates, The Wire dreams on, she’ll reel in your sens- see him three times on his last tour!” Daisies. On stage, kitted out in one es and outrageously flirt with them. she beams and digs out her souvenir of her many vintage dresses, she In her own way, she’s declared a keyrings to prove it. “I’ve never met comes across as every bit the folk- quiet little war on the prefab and him though. Although I really don’t pop sensation that the album sug- the generic, the fake and the plas- want to now. I might spoil it because gests. Ever the fearless entertainer, tic. One thing’s for certain, keeping I do actually love him. It’s so ridicu- she even tackles one of the duets it real never sounded so good. < lous when I say it out loud. Age is alone and, naturally, it goes off with- only a number though isn’t it? I to- out a hitch. It’s no surprise; Shelly Shelly’s album, Hard Time For The tally love him, proper.” has practiced and made perfect her Dreamer, is released in the UK on Sep- How does Ally feel about it? “Oh live chops over the years, including tember 26th. Visit her official website he doesn’t care. We’ve got a written a stint on the inaugural Lilith Fair www.shellypoole.com for more info.

21 Baby Boom A tiny revolution is afoot and its growing by the day. Worried? You shouldn’t be. After all, if quiet can usurp the old loud, then who’s to say that nappies can’t be the new black T-shirt or nurseries the new moshpit. Kids music has never been cooler and today’s artists are practically queuing round the playpen to get a piece of the action. Where the likes of Paul McCartney and Donovan got it so hideously wrong, bands like Saint Etienne, Erasure, Belle & Sebastian, Ida and The Innocence Mission are flying in the face of convention like pureed food from a spoon. A nervous Alan Pedder donned protective clothing and went in search of the why…

illustration by Mark Stevens

22 KIDS’ MUSIC KIDS’

My first encounter with children’s panying storybook. Collaboration music as an adult was a fraught had never been so wholesome and and unpleasant experience. It was it demanded repeated plays. Christmas, 1997, and my mum While this was Loeb’s first had just handed me a tantalisingly full-length foray into children’s CD-shaped package. After briefly music (she had previously con- scanning the label and nodding tributed songs to the soundtrack my thanks, I tore off the paper for Rugrats The Movie and a Lilo to reveal [drum roll] The Best Mr. & Stitch tie-in), Mitchell and Lit- Men Album In The World… Ever! tleton, both founding members of 43 Original Pop Songs For Chil- US indie luminaries Ida, have form dren. Now, a lesser audiophile may for such things. During her many have run right then and there but years as a nursery teacher in New I was, in fact, a big Mr. Men fan York, Mitchell would sing the folk and if this was the best… ever! I songs of Woody Guthrie, Eliza- was damn well determined to love beth ‘Shake Sugaree’ Cotten and has enough simplicity and variety it. In the end, I just couldn’t. Every the Carter Family to her charges that it stays interesting to listen ‘song’ was unspeakably scandal- – a wholegrain alternative to the to, and doesn’t talk down to kids. ous, a white knuckle pile-up of as fun but often artistically anaemic The instruments, sound of voices, many musical styles you can crow- Disney soundtracks so many were and the arrangements I think will bar into five inches of plastic, all overexposed to. appeal to every age.” clumsily buttered with voices so The story goes that while on In fact, the process seems so sickly that I wanted to shred the the road with Ida in 1998, Mitchell enjoyable that Mitchell is already speakers. No genre was left un- was heavy with cold when she and planning a third kids’ album. “It’s sullied, from shoddy cod reggae Dan dropped by Defever’s home in easy to be super zany, or to make to outlawed country and western. Livonia, Michigan, and ended up sleepy lullaby music, and there is Hell, even Mr. Tickle let me down. I taping these songs and others on a place for both,” she says. “But I was disillusioned to say the least. a whim. The result, You Are My like to find something in between, Fast forward seven years and Flower, was wrapped and mastered and to bring in unexpected sourc- I’m stalking the aisles of HMV (old- in one day using single takes only. es – on the next album, we’re re- er though not convincingly wiser) It was never originally intended for cording songs by Yoko Ono, Vashti searching for my next circular fix sale, and yet even now, Mitchell Bunyan and Françoise Hardy, as when something different caught receives letters and emails from a well as folk songs from Korea, Por- my eye. Maybe it was the cutesy il- mind-bogglingly diverse range of tugal, the Philippines and Japan. lustrated packaging that reeled me enthusiastic listeners – from young We play Velvet Underground and in, or just that it was something parents to teenage Ida fans and Bo Diddley songs at the shows all unexpectedly new from a favourite punks. These days, all sales from the time, and those are some of the artist, but finally I felt ready to the album are donated to a chil- best ‘kids’ songs I know.” put Hargreavesgate behind me dren’s charity, as are those of its While the impetus for Mitch- and usher in a brave new world. follow-up, You Are My Sunshine. ell’s albums came from many That epochal album was Recording for that collection be- years spent around young chil- and Elizabeth Mitchell’s Catch gan in 2000 while Mitchell was in dren, most arise from the simple The Moon, an endlessly endear- the early stages of pregnancy with fact that the artists become first- ing acoustic gem for children that Storey, and the album was even- time parents themselves and dis- ambles charmingly between Bob tually released two years later to cover first-hand the horrors of the Dylan’s New Morning and Twin- similar acclaim. genre. In November, perennial pop kle Twinkle Little Star, via French, “Children’s songs are such an Spanish and Japanese folk songs. exciting medium,” says Mitchell. As if to underscore the family “There’s such a meeting ground theme, Mitchell’s husband Dan of very old music and bringing it Littleton and their daughter Storey into the present, while having a also chime in, the youngest most dialogue with the past. Kids music adorably on the crowd participation frees you up to be a beginner, to do pleaser Stop & Go, a slyly funky lit- things in a less precious, less pres- tle song with a nagging guitar riff. sured way.” Family friend and 4AD’s His Name Loeb concurs, saying “We want- Is Alive head honcho Warren Defe- ed to be in touch with the classics. ver was also involved, as was Liz’s We tweaked them, personalized mother Bonnie Brooke Mitchell them a bit, and then tried to create who lovingly illustrated the accom- a lot of variety. [Catch The Moon]

23 rhino” etc.) and the David - US folk-rock band The Inno- featuring Bedfordshire (as in ‘up cence Mission would agree. When the wooden hills to’) charms as a they started recording 2004’s sweet and woozily woven tale. Add , a collec- to that the obligatory song about tion of jazz standards, traditional trains, complete with booms and folk songs and new compositions whistles, and it would seem that sung as lullabies, the album was

KIDS’ MUSIC all the boxes are ticked. “It was ac- wrapped in under two weeks, most- tually a lot easier than making a ly recorded live to guitar and later normal album, it was really quick,” embellished with piano, pump or- says Wiggs. “It allows you to give gan and an upright bass. Dedicat- free rein to your daft side.” ed to the children of singer Karen Indeed, and they don’t come Peris, who has worked with Natalie much dafter than 44-year old per- Merchant, and Em- ma-bedhaired Dan Zanes, a man mylou Harris, and her bandmate heroes Saint Etienne will release on a mission to bring “the world of and husband Don, Now The Day Up The Wooden Hills, their first 21st Century all ages family mu- Is Over is a rare and shy breed, album aimed squarely at the pre- sic” to the masses, music that al- inducing a soothing bewitchment school set. But what makes Lon- lows kids to sing along with moth- that’s hard to shake off. Karen’s don’s finest feel qualified for such er without the matriarch having a hypnotically fragile vocals even a daunting task? “Two of us have meltdown. He’s not alone either; lend poignancy to Over The Rain- had kids in recent years and we got the likes of , Sher- bow and Moon River, songs so of- particularly fed up with nasty kids yl Crow, Dar Williams, Suzanne ten mutilated by lesser artists. She music, where it’s nasty keyboard Vega, Debbie Harry, Angelique Kid- even carries off Edelweiss without sounds and nasty voices,” explains jo, Rosanne Cash and even sadly the need to reach for a bucket. Re- singer , whose son neglected Eighties eccentric San- markable, really. Spencer was born in 2002, “There’s dra Bernhard (her last album was This concept of lullaby-ifying quite a lot of it about.” 1998’s I’m Still Here… Damn It!) (or should that lullabicating? Why Indeed, it’s hard to think of a have all featured on his strangely isn’t there a word for this?!) pop, voice less nasty than Cracknell’s engaging records. Seriously, lis- rock and jazz classics, or indeed soft and creamy vocals, while tening to Crow’s appealing duet on music from any genre, has in fact bandmates and Bob a dancehall version of Polly Wolly become rather popular over the Stanley have exiled any men- Doodle, it’s hard to believe it’s even past few years. A cursory glance tion of tacky horrible synths with the same person. at reveals titles like Dance a more sympathetic instrumen- Zanes, who was once a member Baby (witness the murder of tal background. The joyous You of the successful Eighties Björk’s ), 80s Baby Can Count On Me sounds like twosome, The Del Fuegos, was first (Karma Chameleon soporific-style in training pants, and, inspired to create children’s music anyone?), Rock Baby, like several songs on Catch The following the birth of his daughter Baby, and even Elvis and Beatles Moon, contains laudable cultural in 1995. Enlisting the help of some For Babies (relax, it’s all pre-Frog references with Cracknell count- of the people he’d met while in Chorus, phew!). Sadly, no sign of ing to ten in English, French and the band, he set about recording Rave Baby yet, but I’m sure that Spanish. Elsewhere, Let’s Build A Rocket Ship Beach (2000), which it’s only a tiny matter of time. Zoo is a riotous romp through the described as This year’s best antidote to animal alphabet (“Rachel rode a “kids’ music that works because it such derivative brand extension is not kids music; it’s just music comes in the form of the self-ti- – music that’s unsanitised, unpas- tled album by mysterious collec- teurised, that’s organic even.” tive, Ansty Cowfold. Featuring the When asked how he sees his vocals of one Kerry Shaw, for- records in the context of other al- merly of Wiiija-signed band Whis- bums aimed at the younger gener- tler whose most famous song was ation, Zanes is generously tactful, the laugh-a-minute Don’t Jump In saying “On a lot of kids’ records I Front Of My Train, Ansty Cowfold can hear the recording studio – all goes from Hendrix to Elvis via The the gizmos and gadgets. I under- Beach Boys, Bill Withers and The stand the desire to make things Handsome Family. Even gruff and sound professional, but I wanted to scary gets the lullaby get away from that. Why not let it treatment on Underground from sound like what it is? People in a his surreal 1983 album, Sword- room playing and singing.” fishtrombones.

24 KIDS’ MUSIC KIDS’

Not only is it a paradigm for how to do it for the kids, it’s also one of the best collections of cov- ers in general. As a bonus, instead We asked some lovely people what their favourite song of Tori Amos dressing up in wigs was as a child. This is what they said... and channelling the dead, you get a colourful birdie called Little Wing (that Hendrix cover has a two-fold role) mapping the musical jour- ney through a beautifully designed hardback picture book. Just don’t listen and drive. So now you know where to start, what else is there to look forward to? Well, if that’s given you a taste for the genre, put the pacifiers aside and bring on what could well end up being the biggest-selling chil- dren’s album of 2006. Much-loved Scottish indie band Belle & Sebas- tian are in the process of curating DIANE CLUCK a charity compilation of brand new i had a lot of favorite songs songs for toddlers. Rumour has it as a child the first one that that , Scissor Sisters, comes to mind was a song KIMYA DAWSON The Fiery Furnaces, Icelandic band which i think was called My Country, ‘Tis Of Thy People Múm and quirky US demi-goth “wildfire” a male folk/pop You’re Dying by Buffy Sainte- types Rasputina are all involved, singer from the seventies Marie (I had it on 8-track) alongside , Franz Fer- sang it i have no idea who dinand, Teenage Fanclub, Primal the lyrics were a dramatic Scream, , Four Tet, story of a girl who loses her Gorky’s Zygotic Mynci, Bert Jansch horse in the snow “and a pony and The Divine Comedy. she named wildfire busted down Newcastle’s finest, Kathryn Wil- its stall on a cold december liams is also taking part. “I’ve writ- morn she ran calling ‘wiiiiiiiillll- ten a rather odd song about night lllllddddddfffiiiiiirrre’...” gave me baking,” she says. One artist who goosebumps when i was probably won’t be taking part is fel- maybe seven i also liked the low Scottish indie maverick Momus, “put the lime in the coconut” whose two suggested contributions song the theme from “ice were turned down for their pervy castles” and anne murray NADINE ZAHR lyrics and references to violent vid- singing “daydream believer” My favorite song as a child eo games. Hardly unexpected really; was Christopher Robin. I used his 1991 album Hippopotamomus to sing it with my friends at was a concept album about under- camp when I was a kid. That age sex and was subject to wide- was my first go at trying to spread criticism. harmonise with others With other children’s albums ex- (musically, as well as socially) pected soon from Erasure, who have recently taken to performing Three Blind Mice and Rockabye Baby in their live sets, and erstwhile vocalist , the arena is certainly hotting up. Lay out your SHARON LEWIS terry towel early and stake your It’s hard to choose a favourite claim on a ringside seat. < but I really loved The Long & Winding Road by . Find out more at Elizabeth Mitchell’s www.youaremyflower.org and at ROSE POLENZANI LAUREN HOFFMAN Dan Zanes’ Festival Five Records web- Mine was Sing Something Mother by John Lennon. I site www.festivalfive.com. Simple by Julie Christie covered it on my first EP.

25 Days to Remember A household name of sorts but still a contemporary hidden gem, singer-songwriter Beth Hirsch BETH HIRSCH has a voice with which many will be familiar without even realising it. As the key ingredient to Air’s Moon Safari, co-writing and singing on the breathily beautiful All I Need and You Make It Easy, Beth firmly proved her worth as an artist. But the mainstream success that had seemed so imminent never quite arrived. Now, five years on from her debut, she talks toRod Thomas about the hopes and inspirations that infused it...

Beth Hirsch’s Early Days (2000), When thinking back to the how you’d categorise them, but remains one of music’s better kept making of Early Days, as well like Genesis and Yes… they were secrets. Released in the remnants of as to how she is approaching to my stoner years you know?” she Air’s globe-conquering success with her new material, Hirsch is very laughs. “Talking Heads too. Then Moon Safari (1998), it beggars be- aware of her position as an artist. when I got into college, I discovered lief that this smouldering collection “At the time I had discovered mu- . I’d never heard Joni of songs didn’t make her profile go sic”, she recalls. “I had done the Mitchell before. Or Crosby Stills stellar. Bravely avoiding the obvi- Air album when I was 28 or 29, I & Nash. too. Then lat- ous route of producing an album had just started singing at 25, so er, jazzier singer-songwriters like that repeated the sounds of All I everything was very new to me. I Rickie Lee Jones.” Need, Hirsch chose instead to de- didn’t have a style or a technique It’s this discovery that seeming- liver a set that was stripped down, as much as I just had a need to ly colours the record. Tracks like gently decorated with minimalist express. It was this new chan- the light and romantic Somebody percussion, but driven by perfectly nel for me to express myself. My Dandy gleefully catwalk Beth’s jazz- constructed acoustic guitar riffs, only intention was to write what- ier and more flirtatious side, while haunting piano and the arresting ever emotion was so strong that I the rest of the album, from the opti- power of her voice. needed to express it, to turn it into mistic and assured attitude of Come something as beautiful as I could.” A Day (“just about no matter how She clearly has an ear for hard things are coping with adult- beauty; each song is a delightfully hood, I had faith that was greater subtle testament to the skills of a than me, some kind of… something much more established songwrit- leading me”) to the yearning, gor- ing talent. As it turns out, from geous closing track, Silent Song her formative years in Tampa, (“I had very strong convictions Florida onwards, Beth has en- about society and the human race. joyed a diverse and exciting musi- The cellist, Laura Fairhurst, brought cal journey. “My early childhood the song to another level. It’s was influenced by soul and R‘n’B. about how strong and important I loved The Stylistics, who’ve done silence is in our daily lives”) show You Are Everything, You Make a rounded and competent musical Me Feel Brand New... just gor- knowledge, despite her professions geous harmonies, they were very to the contrary. “You know, I’m not lush. I had an autographed 33 by that prolific. I don’t crank songs out them and I was like, oh my god! like a lot of people do,” she laughs. It was amazing. I never met them “I’m not like that!” and never saw them in concert, To return to Early Days now but that had a big impact on me. is to experience something like I saw the Jackson Five when I an intimate dinner with a friend. was very small, like 5 years old.” It’s a low-key, personal affair, But it was more her transition totally seductive. The songs un- from childhood to adulthood that fold gracefully and seem to reveal seems to have influenced the craft- every shade and sparkle of her ing of Early Days. “As I got older I character with an entirely natural liked pop rock. I liked Todd Rund- rhythm that seems almost conver- gren, then I got into… I don’t know sational. As a whole, the album

26 Beth Hirsch Early Days !k7, 2000 been better but the label wanted the production more conceptual than organic to fit into their own genre. I learned that the live as- pect is tantamount to my music working. I am not an electronic solo artist.”

BETH HIRSCH So what does the future hold in store for Beth and fans of her music? Well, she’s recently com- pleted the writing for her new al- bum, and the producer has just come in to put the final touches to the writing. “I’m looking at the song list now, it’s on my wall,” she laughs. “You know, they’re all very confessional, but the way they’re crafted renders them more accessible to the third par- ty, to the listener. I think that is the major difference, they’re just a more mature sound.” In her new musical incarna- tion then, Beth Hirsch is a more experienced and wiser storyteller. But, even from her own earliest days, she had music in her blood. When asked her favourite TV show as a child, what more fitting than “…the MONKEES! That was my absolute favourite. Oh my god, I loved that show! I liked the drum- mer Mickey, he was so funny. He was my favourite by far.” But what are her ‘hidden gems’? “Well my seminal albums would probably be Yes’ Frag- ile (1972), Joni Mitchell’s Court & Spark (1974), maybe Harvest (1972) by Neil Young, but hidden gem?... the first thing that comes to mind is a track on a Todd Rund- gren album, A Cappella (1985). It’s called Pretending To Care. He must have fifty harmonies going on, this becomes a collection of stories told “A couple of very instrumen- really lush choral sound. No one between friends It seems to have a tal shifts have taken place,” she listens to that song, I always have very direct projection. She agrees, explains. “Back then I felt so out to explain it, it’s so gorgeous…” < but this is where the move to her of water in the business end of new material begins. “It does have things, and I wanted to find a direction, but as far as the craft home in a record company that Beth’s song Arrival, written with goes, it’s a very particular listen- my music could fit into a niche. Pale 3 (best known for their sound- er it aims for. Now I see writing Even though Early Days was an track to Run Lola Run), has just been much more as a craft, not neces- independent thing that !k7 picked released on the Superb Records sarily any easier, but I see it as not up, when I signed with them they soundtrack, Crash: Music From & so much about me anymore. It’s wanted to merge two styles. So on Inspired By The Film. As of press about the listener and communi- Titles & Idols (2001) [her second time, Early Days is criminally out of cation with the listener. I feel my album, produced by cutting edge print but Titles & Idols should still songs are becoming much more dance knob twiddlers Black Dog], be available and easy to find in all accessible to people.” some of the writing may have good record stores.

28 RICKIE LEE RICKIE

a buyer’s guide to... Rickie Lee Jones

In these times of diluttantes (sic) was cheating somewhat having UNDISPUTED CLASSICS Norah, Catherine Zeta and even changed her name from Mendoza. fictional Bridget, you’d be for- It follows then that we must given for wondering whether the be discussing the self-proclaimed devil has packed it in with the “lower-middle-class-hillbilly-hip- Miss Joneses of today. Keeping ster” runaway, former alcoholic up with them now means noth- drugged out sylph but now Du- ing more than propping up a bya-bashing mum, the Duchess cheap IKEA coffee table, flick- Of Coolsville herself. With the ing through the pages of OK! or first ever anthology of her 26-year wearing enormous greying knick- career recently hitting the shelves, ers that even your granny would lovingly packaged thanks to those gladly see torched. generous folks at Rhino, Alan Rickie Lee Jones How different it all seemed Pedder takes the time to reassess Warner Bros., 1979 just a quarter century ago, with the canon of a true inspiration The rare sound of an already fully-formed not one but two iconic purvey- – from 1979’s revolutionary self- artist busting out in style, both musically ors of the surname. We’re talk- titled debut through to the present and in a sartorial sense. The beret marked ing Grace and Rickie Lee people! day, Rickie Lee Jones has paved her out as an idiosyncratic beatnik with so- – although the former, a statu- the way for artists like Tori Amos, phisticated tastes. A Grammy for Best New Artist followed, and while Jones could have esque and slightly unhinged 70s , Jewel and Fiona easily repeated the same formula, her artistic disco diva turned 80s new-waver, Apple to name but a few. sensibilites demanded more of her and us.

29

RICKIE LEE RICKIE

WORTH HAVING TWO FOR THE FANS

Pirates Warner Bros., 1981 Mostly written after a devastating split from The Magazine paramour Tom Waits, Pirates nakedly holds Geffen, 1991 Warner Bros., 1984 that relationship to account. Arguably her ultimate distillation, more so even than her Where Jones’ isolation got the better of her. debut. Gone is some of that record’s naïveté Not quite a concept album, but certainly one and in its place lies a richness of experience in which the theme of alienation is predomi- and wilfully abstruse lyricism that bewitches nant. Unsettling but strangely filled with the mind as much as the ears. hope, The Magazine is a demanding listen, yet for something so self-conciously arty, for the most part, it’s surprisingly bland. PRETTY DAMN SPECIAL

It’s Like This Artemis, 2000

Similar in conceit, these two albums both find their joy in jazzy interpretations of an aston- ishingly diverse range of originals. From to Broadway via The Beatles and , Rickie Lee exhibits a vocal dex- terity akin to Billie Holiday in a mischievous mood. Joe Jackson and Ben Folds make Geffen, 1993 Geffen, 1989 welcome contributions to the later record, boosting Jones’s gentle keening vocals. A near Recorded, mixed and produced by an all- Ten years on from her debut, Jones had masterclass in how to cover songs in style. regained some of the childish exuberance of female crew, this is a mostly disappointing that album and merged it with the more com- and vague collection of songs. Aside from plex song forms she’d relied upon in the inter- the stunning Stewart’s Coat and a passable vening years. Though the songs arguably be- cover of Bowie’s , too many of the tray a long-held fascination with , ideas here fail to gel. few could really argue that as a drawback.

FOR COMPLETISTS ONLY

The Evening Of My Best Day V2, 2003 Though never really a political commentator in the past, Jones broke a 6-year songwriting drought to express her disdain for US Presi- EP dent George W. Bush and his entire admin- Warner Bros., 1983 istration, infusing the record with a righteous Ghostyhead indignance. It’s not all Republican-bashing, Warner Bros., 1997 Her first set of covers and live record in one however – this finely textured and graceful was originally sold on 10” vinyl at Jones’s album touches on her personal struggles too. Seemingly inspired by Tricky and Martina insistence. While these unembellished and Easily her best since Flying Cowboys. Topley-Bird, Jones tried her hand at repetitive whisperingly intimate songs may have baf- trip-hop noodling overlaid with mostly opaque fled her earlier fans (those who survived the spoken word passages. Unsurprisingly, it’s bloodletting of Pirates), they have weathered Also recommended: Naked Songs (Reprise, mostly crap. The novelty of hearing her in this time well and still hold plenty of impact. 1995) and Live At Red Rocks (Artemis 2001) context wears off faster than cheap lipstick.

31 reviewsNEW RELEASES NEW RELEASES IMPORTS

Björk 33 Róisín Murphy 48 Lori Carson 56 : & Covers Ruby Blue The Finest Thing

Mariah Carey 36 Queenadreena 51 Hilary Duff 57 The Emancipation Of Mimi The Butcher & The Butterfly Most Wanted

Mara Carlyle 47 41 Lauren Hoffman 56 I Blame Dido EP Choreography

Diane Cluck 47 Saint Etienne 48 Ember Swift 57 Oh Vanille/ova nil Tales From Turnpike House Disarming

Ani DiFranco 38 Sleater-Kinney 35 Tagaq 55 The Woods Sinaa

The Duke Spirit 43 Sons & Daughters 46 MUSIC DVD Cuts Across The Land The Repulsion Box

Electrelane 51 50 Björk 58 Axes 11:11 Medúlla Videos

The Fiery Furnaces 34 Emiliana Torrini 40 61 Fisherman’s Woman Speaking For Trees

Mary Gauthier 41 KT Tunstall 49 Aimee Mann 62 Mercy Now Eye To The Telescope Live At St. Ann’s Warehouse

Patty Griffin 39 Martha Wainwright 45 63 Impossible Dream Martha Wainwright VH1 Storytellers

Natalie Imbruglia 38 35 BOOKS Counting Down The Days Over Fly Over

Juliette & The Licks 36 42 Tori Amos & Ann Powers 64 You’re Speaking My Language Live @ The Fillmore

The Magic Numbers 37 REISSUES Eddi Fiegel 65 The Magic Numbers Dream A Little Dream Of Me: The Life Of ‘Mama’ Cass Elliot Aimee Mann 44 53 The Forgotten Arm Complete discography LIVE Janis Joplin 52 Lene Marlin 50 Tori Amos 69 Lost In A Moment Pearl: Legacy Edition

Patty Griffin 68 Erin McKeown 42 Kirsty MacColl 54 From Croydon To Cuba We Will Become Like Birds ’s Meltdown 66

32 NEW ALBUMS NEW

so much attention from remixers and reinterpreters alike that Björk herself threw down the gauntlet to visitors of her official website to contribute to this project. In less than a fortnight, she was deluged with over 600 responses, and so, Björk/Various Artists aving roped in the song’s original Army Of Me: collaborator, Graham Massey of Remixes & Covers 808 State, the two set about what One Little Indian must have been a task both ardu- ous and intriguing. Interestingly, reviews «« it’s the second time that Björk has harnessed the internet for track- Anyone familiar with the mam- listing purposes – the website vote moth Björk merchandising ma- for her Greatest Hits (2002) album chine giving this latest release a famously resulted in It’s Oh So cursory glance might well think Quiet, her, er, greatest hit, getting that the folks at One Little Indi- swiftly kicked to the curb. an had one toke too many on the So what of those that made the peace pipe – TWENTY versions cut? Only , the UK’s of the same song, have they all very own self-styled libertine folk gone utterly butterly? Delving very curio, is instantly recognisable little further than examining from the list of contributors, all of the sleeve, however, reveals a whom hail from either Europe or more gracious rationale for this North America. The best tracks newest apparent extortion. here are those that keep it mellow Always fiercely protective of and antidotal to the original. French her own progeny, to which a cer- band Grisbi turn in a lovely sultry tain rather bruised journalist bossa nova, the UK’s Martin White would surely attest, Björk now gets wheezily wistful on the accor- extends her maternal warmth (via dion and pan-European consortium UNICEF) to the children of south- Lunamoth capitalise on the mar- east Asia whose lives were altered riage of harp and muted electronica dramatically by last year’s Boxing best consummated on Björk’s own Day tsunami. Indeed, as with past (2001). Predictably, Björk remix projects, dramatic al- there are at least two versions that terations are the order of the day hark back to Björk’s early punk on this bizarre collection. Equal bands, Kukl and Tappi Tikkarass, parts a game of kiss chase with but these are probably best avoided. the sublime and chicken with the Likewise with the offerings by the ridiculous, it is at the very least demented Dr Gunni and the clear- audacious. Ironically, however, the ly piss-taking Messengers Of God, true audacity lies in the song itself, whose country and western adap- a stern slap on the bum of self-pity tation is nothing short of risible. – “We won’t save you, your rescue With a fundraising target of squad is too exhausted…” and so on. £250,000 within the first 10 days Hardly a charitable sentiment is it? of sale, it’s an ambitious endeav- Back in 1995, Army Of Me was our, though woefully misguided, the lead single from Björk’s second and it’s unlikely that even diehard solo album proper, Post, spawning Björk fans will want to play this in a host of remixes and even a ver- its entirety more than once. Is it sion with her now-defunct ex-la- value for money? Not really, but buy belmates, Skunk Anansie. In fact, it anyway and think of the children. the 10-year old song has attracted Alan Pedder

33 NEW ALBUMS

The Fiery Furnaces Rehearsing My Choir Rough Trade «««

Those of us still surviving after A reward of sorts comes here. of urgency that only a didgeridoo the Fiery Furnaces’s last long- In third album Rehearsing My can muster, while We Wrote Letters player (length being a somewhat Choir (another, , is Every Day sticks in the head after paradoxical notion in their terms due as early as January), we find only a few listens. – an ‘EP’ released earlier this year a singular conceit truly becoming It’s this lack of salient obscurity raced in at a heady 41 minutes) of the epithet ‘concept’. The al- that makes Rehearsing My Choir are surely deserving of some sort bum constitutes eleven interwoven a much more forgiving prospect. of reward. (2004) tales of from the Thirties Sarantos’ octogenarian vocals are was a challenging beast in no un- to the Fifties, as told through the at once commanding and brusque, certain terms; an extended rock eyes and (mostly spoken) vocals of yet also disturbingly reminiscent invoking the spirit of Tom- Olga Sarantos, director of the Illi- of a female Simpsons’ Barney. The my, but at times coming across nois state choir for over 65 years combination of Eleanor’s matter- like a tub of acid assaulting a and, more specifically, the Fried- of-fact vocals and Matt’s seem- crazed school orchestra. Yes in- burgers’s grandmother. So bring ingly bottomless box of crazy deed, we who have clung on have forth stories of wounded gang- instruments elevates the tales into the scars to prove it. sters, dodgy back basement deals circus and vaudeville, and yet the Certainly, it’s no idle rhetoric and the previously unimaginable melancholy still slots into place. to say that, from the bluesy pop hell that is trying to make candy “We can talk about it, but memo- sensation of their cult 2003 de- when you’re due to meet your fa- ries are best often sung” Sarantos but Gallowsbird’s Bark onwards, ther in-law for the very first time. tells, or rather scolds us. Illinois-based siblings Eleanor and On first impression, the Furnac- There’s no doubt the Fieries are Matt Friedburger have always es seem much more at home here. fighting against musical form to slipped through the grasping fin- Their tendency to soften bluesy save us from our own predictable gers of definition. Almost aggres- rock into a kind of psychedelic lull- expectations, and to a certain ex- sively progressive, but with an ef- aby blossoms under the restraint tent they have succeeded in this fortless cool that could of shorter songs and narrative fo- latest endeavour. Each song floods never buy, the duo have constantly cus. Odd instruments are still the the imagination with a slice of tasty challenged listeners to absorb their main musical nuance and there’s Americana that’s light years away oeuvre in terms of entire albums, certainly no sign of your every- from the likes of and Cake. rather than songs. It’s an almost day verse–chorus–verse, but there For the less adventurous, however, quix-otic approach in the days are at least splatterings of rhythm there remains a longing pang for the of 79p iTunes singles, yet utterly and release – The Wayward Grand- halcyon days of ultra-catchy tunes admirable too. daughter pumps along with the kind and memorable riffs. Ian Buchan

34 NEW ALBUMS NEW

and very cleverly composed. The se- ous, more stripped down releases. quencing of the tracks ensures an After last year’s enchanting ma- invigorating flow that maintains a jor label contract-fulfilling Rela- certain sense of urgency and keeps tions covers album, her self-pro- the listener wanting more. fessed disillusionment with music Want proof? It’s a rare thing in- was vanquished, and she set about deed that most tunes on an album making Over Fly Over a renewed Sleater-Kinney would force me to wriggle to the woman. The result is a sometimes The Woods rhythm and shake a leg discreetly dramatic, sometimes eerie collec- under the desk, but it happened tion of eleven densely-coloured and here alright. The Woods has plenty lyrically intriguing songs and a typi- «««« to offer and stands up to repeated cally yearning instrumental. The- listens. It seems to me that the in- matically, the songs continue Wil- I have no intention of clogging the terpretation of each tune will also liams’ sweet way with the minutiae, page with ruminations on band depend on your mood. A song that with lyrics about Lemsips, watching set-up, record labels, history, tour made you air guitar with your mates cartoons and listening to a lover’s dates, and downloads etc. You can on first listen might later make you compilation in the dark. find all that on www.sleater-kinney. want to drive out onto the interstate As it happens, the album splits com or www.sleater-kinney.net, to lock horns with a tornado. Alone. almost neatly in half between the written with more care and aim to At night. Wearing nothing but your new bold sonic adventurer Williams please than I could ever be bothered shades. Endre Buzogány and the quieter, more reflective with. While to Sleater-Kinney new- folkie we’ve grown to cherish. From bies, the trio’s name might conjure opener Three, which features a “bad up thoughts of a solicitors’ office or ass out of tune electric guitar solo”, city financial advisors, fortunately through to the poptastic climax of nothing could be further from the Shop Window, Williams has never truth. If the metaphor is to be per- sounded so demurely forceful. Hell, severed with, Sleater-Kinney are, Just Like A Birthday even contains if anything, more like a construc- her first ever swear word – she had tion company, complete with all the previously only alluded to pardon- heavy earth-moving machinery that Kathryn Williams ing her French in No One To Blame any local area regeneration scheme Over Fly Over from her debut Dog Leap Stairs would be rightly envious of. Caw (1999). Intriguingly, the song be- Seventh album The Woods con- gins with a softly spoken line from tains everything from high-energy ««««½ Cole Porter’s I Love – perhaps melodic grinding (The Fox) to raw an inside joke? Then, at its pinna- and impassioned rock (What’s Mine Kathryn Williams has an unusual cle, menacing strings swoop around Is Yours and Entertain). Even the habit of naming her songs after her and threaten to strangle the song instrumental sections on the epic albums. Nothing strange about that completely as Alex Tustin’s drum- 11-minute Let’s Call It Love lift you you might think, but she does it in ming grows increasingly erratic. up, let you float happily awhile, be- such a way that defies usual con- It’s a defining moment, not just for fore throwing you down from a very vention. First, the song Little Black Over Fly Over as a whole, but for great height. Add to that the range Numbers appeared on 2002’s Old Williams herself. A thumb in the of Corin Tucker and Carrie Brown- Low Light and not 2000’s Mercury eye for anyone who suggested that stein’s duelling vocals, which glo- Music Prize-nominated album of her songs lacked drama. riously hurtle from sweet-sound- the same name. Similarly, Over Fly While there is nay a poor song ing harmonies on Night Light to Over boasts a composition entitled here, other notable tracks include the howling roar of a B52 bomber Old Low Light #2, the ‘#2’ presuma- the thoughtful Breath, the sweetly found almost everywhere else, and bly a nod to her peculiar little quirk. nostalgic City Streets and the ex- you’re on to a winner. A minor point, true, but who’d bet istentialist Full Colour, in which Although you cannot fail to rec- against her next album having an Williams sings “People like you ognise some of their grunge influ- Over Fly Over of its own? Luckily and me could leave this world and ences and PJ Harvey-esque de- for us, Williams has other unusual go unnoticed in another.” It’s a liveries, Sleater-Kinney pull it off habits, one of which includes con- typical sentiment for her, full of by exuding a more natural and stantly improving and bolstering her humility and wonder. Over Fly unforced cool. While the cynics sound. Where she goes from here Over proves that she is capable of amongst you might say it’s all been though is anyone’s guess – Over testing her tether and, yet again, done before, I say not recently and Fly Over could well be the first that she’s a sorely under-appreci- certainly not as well as this. The Kathryn Williams Band album, such ated national treasure. Woods is unadulterated, fresh, fun is the stylistic jump from her previ- Alan Pedder

35 even rails against the politicians very best aspects of their union. The and frat boy mentality in American finest ingredients are to be found Boy Vol 2. It’s not exactly anarchy, here – a distinct and sumputous but it seems at least genuine. melody carrying a universal theme, Overall then, You’re Speaking a classy arrangement and the per- My Language is that rare occur- fect ratio of smooth to belted vo- rence of someone awaking from a cals. Elsewhere on the album, the

NEW ALBUMS Juliette & The Licks long artistic coma. For those un- party continues with tracks like You’re Speaking My Language inclined to be overly judgemen- the Prince-inspired Say Something, Hassle tal, there’s a surprising amount of the infectious The Night, vo- pretty decent tunes, although noth- cal workout Your Girl and Get Your ««« ing comes close to breaking new Number, which samples Imagina- ground. Nevertheless, where Juli- tion’s 80s hit, Just An Illusion. Your mum will tell you that first ette & The Licks go next will be at In the past, Carey has best im- impressions are important. So least an interesting footnote in the pressed when backed by live musi- when Oscar-nominated Hollywood annals of rock. For now though, be cians, and …Mimi builds on these actress Juliette Lewis deigned to content with Hollywood’s finest mu- successes. I Wish You Knew takes cover two untouchable Polly Harvey sical export in a long long while. you straight to the concert with classics back in 1995, the progno- Endre Buzogány its energetic crowd effect, and is sis for a long-term rock career was reminiscent of early Diana Ross, significantly worse than terminal. while Circles has a classic early 70s Ten years later, she’s back with a groove without sounding like the band and this time she’s not going wannabe retro peddled by, for ex- away. Initial thoughts? Yeah, what- ample, ultra-bore Joss Stone. This ever. Join the back of the queue track, and indeed the entire album, Ms. Lewis, right behind Driver, benefits from Mariah’s matura- Gershon, Crowe and Reeves. Has tion as a singer – where once she the work dried up so badly that might have indulged in warbling they all have to scramble for a gig The Emancipation Of Mimi and melisma, here she has learnt in a dingy Camden pub? Do they Island/Def Jam to rein in those early vocal flour- too have to send their demo tapes ishes and sounds all the better for to some longhair in Cornwall with «««« it. Her voice is strong throughout, an obscure record company and a and a new-found clarity and diction few grand going wanting? I mean, These days it’s too easy to focus makes much of …Mimi more ac- how seriously do they think we’ll on the problems Mariah has been cessible then some previous efforts. take them? through over the last few years, but Although the album as a whole is Well, in this case, you might on the evidence presented here, intended to be light-hearted, closer want to prepare yourself to purge her tenth album, she herself cer- Fly Like A Bird is a spiritual number clean away those Tinseltown preju- tainly isn’t wallowing. If last album set among stunning live instrumen- dices. Juliette Lewis is angry, but Charmbracelet (2002) reflected tation and climactic vocals. It feels most of all she just simply rocks. Carey’s mourning process, then like closure. After a somewhat naff intro and The Emancipation Of Mimi sure What The Emancipation Of a “This one goes out to the entire ain’t the wake. This is an upbeat, Mimi shows is that, when Carey is world…” (sloganeering is so 1984), light-hearted party record, reflected put into a position where she feels things get better, much better. The perfectly in the opening track and she has nothing to prove, that free- title track and first single kicks first single, It’s Like That. Harking dom translates into her music and some hefty ass. Musically, the over- back to 80s R&B (via the SOS Band) allows it to convey a more relaxed all feel of the album is perhaps best yet with a pounding kick-drum that energy. Though her popularity in described as polite and digestible The Neptunes would be proud of, the UK will never scale the heights punk rock. Drums, , bass, it’s a snappy, simple number that of her US success, and though all very credible, though for some relentlessly invades the brain. many music fans and critics have reason I can’t help humming Pearl It’s no coincidence then that it’s written her off, Mariah has no rea- Jam songs after the slow-burning one of the four songs on …Mimi son at all to be bothered. In terrific ballad Long Road Out Of Here clos- that Carey crafted with long-time contrast to the usual, by blinker- es out the record. Juliette’s vocals collaborator Jermaine Dupri – to- ing herself to much of the outside have just the right amount of rasp gether they have created some of world’s opinion, she has returned (probably from sucking on Bobby the most memorable songs of her with a purer and much better dis- De Niro’s fingers in Cape Fear) to 15-year career. Second single We tillation of her craft than anyone provide that extra authenticity to Belong Together maintains that could have expected. her strived-for rebel sound. She trend, blissfully encapsulating the Adrian Roye

36 NEW ALBUMS NEW

The Magic Numbers The Magic Numbers Heavenly «««½

De La Soul once opined that “Three be converts. Their festival-stealing mooted by Noel Gallagher as a is the magic number”, but London- sets have certainly paid off, as initial “ classic”. Despite the cli- based quartet The Magic Numbers sales of their eponymous debut al- chés and couplets, the band are have discovered a different equa- bum have shifted over 100,000 units unashamedly pop-wise and lines tion. While the folklore origins of to date and bagged them a Mercury that would otherwise sound over- many bands may be a shared pint Music Prize nomination. Live favour- wrought are treated here with the in the art college bar, or an an- ite Forever Lost loses none of its ap- gentlest of hands, crafted with a swered ad in the music press, the peal on record with it’s a cappella transparent sincerity. The album’s formation of The Magic Numbers break inducing much hand-clapping emotional heart is exposed on I was a home-grown affair. Trinidad- and foot-tapping. Follow-up single See You, You See Me which brings born siblings Romeo and Michele Love Me Like You is a joyful ride of a Angela out from the background Stodart spent their formative years song, fuelled by jangly guitars, me- tapestry and it is a shame that more in before their fam- lodic harmonies and a soulful pulse tracks do not exploit her fragile ily relocated to London, bringing of a bass line that justifies their re- vocals that recall US songstress with them the sunshine of Ameri- cent support slot for resurrected Emmylou Harris. ca’s East Coast. There, they quickly pop-genius, Brian Wilson. With their long hair and air- made friends with new neighbours Saying that The Magic Numbers tight harmonies, early compari- Angela and Sean Gannon, and the is a ‘pleasant’ listen does not mean sons with The Mamas and The Pa- four gelled over their collective love that the band is walking firmly pas were inevitable but there are of music. down the middle of the road. None of plenty more influences here, from First puncturing the public con- their voices are stretched by unnec- The Lovin’ Spoonful to ; sciousness when they guested on essary affectations and the female however, co-producer Romeo en- last year’s Chemical Brothers album vocals complement the delicately sures that the record maintains Push The Button, The Magic Num- pitched lead of hirsute frontman, a contemporary edge, rather than bers sold out the infamous Kent- Romeo. Lyrically, the theme of lost lapsing into a cynical exercise ish Town Forum by word-of-mouth or failed love runs through the al- in retrospection. If the reference alone. A perfect antidote to the in- bum, such as in the less-than-ob- points are obvious, then so is the trospective U2-isms of Coldplay, the liquely titled Love’s A Game where appeal of this album, and when band truly shone at a succession of Romeo sings, “love is just a game/ you get audio thrills like this, it’s UK festivals, radiating their infectious broken all the same/and I will get as easy as two plus two. guitar-pop across waves of would- over you”, which has already been Stephen Collings

37 ridiculous self-help stranglehold years after the patchy White Lilies that grips America like a pill, instead Island (2001), a record that so ear- asserting the mantra “I think I’m nestly wanted to be taken seriously done gunnin’ to get closer to that it only could manage to be sev- some imagined bliss, I gotta en shades of dull, Counting Down knuckle down and just be ok The Days arrives with the benefit with this.” Happily, the following of considerably lower expectations

NEW ALBUMS Ani DiFranco two tracks, Studying Stones and and is all the better for it. In fact, Knuckle Down Manhole are easily among her it’s something of a triumph. Righteous Babe best – the latter also featuring Featuring a raft of producers some charming whistling from re- and co-writers, including her hus- «««« cent Righteous Babe signing, An- band Daniel Johns, Ash Howes (Mr. drew Bird, who also contributes Sarah McLachlan), Eg White (Emil- Though never one to pass the re- violin and glockenspiel elsewhere. iana Torrini) and Ben Hillier (Blur), sponsibility buck, it is gratifying It’s no surprise then that the Imbruglia nonetheless manages to at least to see Ani DiFranco set more liberated radio programmers make the album sound coherent aside some of the duties on this, stateside have embraced these and it’s clear that the endeavour her 15th studio album since her songs, giving DiFranco perhaps has been a three-year labour of love. self-titled debut in 1990. Hav- her best commercial chance since Lead single Shiver is as fresh-sound- ing enlisted the estimable wiles (1997). ing as Torn or Big Mistake seemed of co-producer on Other album highlights include in 1997 and deservedly became one this follow-up to last year’s self- the Out Of Range-y Modulation, of UK radio’s most played songs everything’d (including, perhaps, the bluesy clunk of Seeing Eye earlier this year. Other highlights self-indulgent) Educated Guess, Dog (a memorable chorus also include the Johns-penned Satis- Knuckle Down sees Ani return helps its cause), the taut slam fied, which will almost certainly be in part to the more rewarding poetics of Parameters and the lyri- another radio favourite. Similarly musical territories mapped out cal vulnerability of the closing with Sanctuary, which features on each album up to 2001’s sprawl- track, Recoil. jangly indie guitarwork, discreetly ing Revelling/Reckoning. After the chugging claustropho- wailing sirens and throbbing asser- Inevitably, there will be those bia of Educated Guess and the of- tive drumbeats bubbling beneath who bemoan the relative ab- ten unlovable jazz forays of Evolve her best rock moment since Big sence of DiFranco’s almost legen- (2002), DiFranco seems comfort- Mistake. After a noticeably sagging dary leftism here; the only overtly able (and perhaps even comforted) second half, the real surprise of the political song, Paradigm, still to be back on familiar ground, if album lies in Honeycomb Child, resonates with an inward-looking not entirely back to her roots. The an appealing little gem with un- personal relevance that stitches promise of less digging for greater deniably Vespertine-era Björk- the emotional seams of the album reward should entice both new ian influences (music box? check! and mines them to stark lyrical prospectors and the DiFranco con- burbling electronica? check!). Like effect. But to complain about this verted alike. Alan Pedder ’s spooky Mer Girl at seems a little hard-bitten in light the end of Ray Of Light (1998), it of DiFranco’s recent personal up- hints at a direction she might do heavals. Both the dissolution of well to explore. her marriage and the death of her All in all, Counting Down The father, Dante Americo DiFranco, Days showcases a pleasing progres- to whom the album is dedicat- sion and unmistakeable matura- ed, figure highly in these respec- tion in Imbruglia’s sound. By stick- tively bilious and brow-beaten ing to her organic, level-headed and compositions. The Bush Adminis- famously pernickety approach to tration need not count their capi- Natalie Imbruglia songwriting, she has pulled off an talist chickens just yet, however, as Counting Down The Days applaudable feat in reversing the DiFranco has already signalled Polydor her intent to release a second (mostly exaggerated) decline of her album at the tail end of the year «««½ fortunes. The fact that the album in which they may not come off became what even Left Of The so lightly. The passive-aggressive faint praise Middle couldn’t – a #1 bestseller As it is, Knuckle Down is brigade have had a field day with – is surely encouraging news. Let’s yet another credit to DiFranco’s this, the third album from Austral- hope it gives her the confidence to famed survivalist mentality. The ti- ian singer-songwriter/actress/skin- make a speedier follow-up. tle track grittily eschews the faintly care pin-up Natalie Imbruglia. Four Alan Pedder

38 NEW ALBUMS NEW

Patty Griffin Impossible Dream Proper ««««

Defeatism is not a word you will but to do so is to bypass completely both of which feature exquisite find in the vocabulary of 41-year every subtlety and nuance of hope violin from the ever-wonderful Lisa old Patty Griffin, but that’s not that infuses the sadness. Originally Germano. Top Of The World is tail- to suggest some kind of deluded released in the US a year ago, the gated by a touching reprise of Im- Pollyanna figure who could shrug album finally makes it to the UK possible Dream from the musical, off the apocalypse with a blink in support of Griffin’s first UK tour Man Of LaMancha, as sung by and an “oops” – she’s tough in the dates in years. Patty’s parents. It’s a fitting senti- way that a tree is tough. Since The jaunty staccato shuffle ment for Griffin, whose songs have her debut, Living With Ghosts of the opening track, Love Throw A often voiced the viewpoints of the (1996), that much has been clear. Line, is something of a red herring. older generation, that her parents Already a formidable guitarist, Stacked with an almost tangible take these reins and allow her own this fourth studio album spices urgency, it’s heavy on the spiritu- laments to bubble over. things up a bit with brass, pi- ality but light on the palate. Kite Best of all, there’s a moment ano and organ featuring on sev- Song, too, is an easily digestible yet approximately halfway through eral tracks. Interestingly, three of plaintive paean to optimism, made Mother Of God where her tender, them have been resurrected from all the sweeter by backing vocals reedy voice cracks beneath the her indefensibly shelved third al- courtsey of Emmylou Harris and weight of her emotion. It’s these bum, Silver Bell, a victim of silly Julie Miller. Elsewhere, Standing hiccups, these inimitable idiosyn- record company bureaucracy. takes its cue from gospel artists crasies that render Patty Griffin so Whilst the album that eventu- such as Mavis Staples, but tempers few of peers. ally surfaced in its place, 1000 it accordingly to avoid, in her own Holding an alarm clock in one Kisses (2002), remains one of words, making “bad white blues”. hand while the other demurely the most exemplary singer-song- The result is four minutes of being hitches up her crinoline as a kite writer albums of all time, incred- rooted to the spot in reverence. soars in the background, the Patty ibly, Impossible Dream is better. The emotional core of the al- Griffin on the sleeve appears de- At once more personal and univer- bum is most evident on Top Of fiantly hopeful, as if waiting for sal than its predecessor, it’s an in- The World, a Griffin original made something real to whisk her away. tense deconstruction of the strug- famous by the Dixie Chicks on Even if it forever passes her by, we gle of everyday lives. Consequently, Home (2002), and the heartstopping can rest assured she’ll survive. some will dismiss it as depressing, seven-minute epic, Mother Of God, Alan Pedder

39 Emiliana Torrini Fisherman’s Woman Rough Trade ««««« NEW ALBUMS

The last few years have been with acoustic guitars replacing where “outside your house to eventful for Emiliana Torrini, programmed instruments. The make a scene, inmy head you grab though you’d be forgiven for not result: Emiliana sounds consid- me passionately”. In almost every really noticing. Since her disap- erably more comfortable than an- way, on Fisherman’s Woman the pearance from the public eye fol- yone I have heard in a long time. real Emiliana grabs the reins. lowing the release of her 1999 At last, she seems to have finally Unlike her debut, the bulk of international debut Love In The found her niche. this album is self-penned, writ- Time Of Science, she has not In all honesty there is not ten with new co-writer Dan Carey only contributed Gollum’s Song a bad song on this album and and shows her maturity as writer to the Lord Of The Rings: The tracks such as Sunnyroad, the and performer. Alongside her own Two Towers OST (a video for sweet and enchanting first single, songs, the album features a song which can be found as an extra Nothing Brings Me Down and the written for her by Bill Callaghan on the DVD), but also found time outstanding At Least It Was make (better known in some circles as to pen a number one single for it even more amazing that Emil- Domino signed artist Smog) and Kylie Minogue in the shape of the iana’s talents have not brought a sublime cover of the Sandy slinky Slow. At last, following a her more attention. The title track Denny classic Next Time Around. critical standing ovation for her takes us far away from the city These songs slide seamlessly in debut and deserved commercial and time of science of her debut amongst her own to complete a success, albeit not directly in her into a simple, more homely world near-perfect setlist. Album clos- own name, Ms. Torrini offers up where melancholy and sweetness er Serenade is possibly the most her second album proper to the are balanced effortlessly to create serene moment of her career. music world. an album that is both warming The most striking thing about Lucky us! Emiliana returns and heartbreaking. Fisherman’s Woman, however, with one of the most captivating The innermost Emiliana comes is its utter lack of pretence. It folk albums of recent times, com- out on in this album. In At Least sounds so completely natural, bining her delicate but powerful It Was, the timid heartbroken girl free from the self-consciousness vocals with impossibly good mel- sings, “I thought I saw you on the and artifice that colours so many odies, perfect musical arrange- train, I hid behind some man. I’d other artists. All in all then, this ments and a set of songs that never seen you look so good…” is a beautifully honest and hu- place her firmly among the ranks and in Heartstopper, the self- man album, and as a nice sur- of the best. The dreamy electroni- professed “chick-flick” song, the prise, even more spellbinding ca of her debut had been shed in hopeless, daydreaming romantic than her debut. favour of sparse, gorgeous folk is allowed to voice her thoughts Rod Thomas

40 NEW ALBUMS NEW

open. The first track, Falling Out and 2003’s breakthrough Chain Of Love is so close to spoken that Gang Of Love in a sunnier Bb the listener receives an intimate, major – and for heavy feedback than seemingly confidential one-on-one for the pop perfection that was the recount of a failed relationship. The result of this concept writing and pained lyrics, memories, anecdotes recording. Three years and as many and post-relationship ache soon albums in, the duo have thrown out Mary Gauthier rise clear before Gauthier declares the rule book and delivered their Mercy Now her determination in the refrain of strongest record yet. They’ve always Mercury “Let me out, set me free.” On the had a penchant for the Sixties and following track from which the faded Hollywood B-movie glamour ««« album takes its name, the internal (they have written three songs about has become external and her con- LA), but it seems that only without Within just a few seconds of a soft cerns for both family and country those self-imposed musical restric- guitar solo delicately feeding into are voiced. tions that they have been able to a slow, slurred drawl, you already delivers a plentiful Mercy Now embrace these themes fully. know you’re in the safest of hands. dish of family issues, woe, personal Lead single Love In A Trashcan Such is the comforting hallmark trauma, disillusion, longing and conjures up an image of Carnaby of prime Louisianan export Mary addiction; the essential heartache Street in 1967, with girls in go-go Gauthier, whose saturnine world ingredients of any Mary Gauthier skirts and huge platform heels furi- has been documented thus far over record. Yet it is because of this rich three sometimes stellar albums, bloodied vein of emotional injury, ously shaking their shoulders to it’s and right from the starting blocks rather than in spite of it, that real twangy, sassy guitar lines. In Sleep- the gentle ear candy of her fourth, beauty exists in her work. Empty walking, Sharin sings in a husky, Mercy Now, signals no drop on the Spaces, a gripping tale of passion sultry Debbie Harry-like voice, qualityometer. Revelling in its mas- gone awry, is the perfect example, and the dramatic quiet–loud gui- terful weaving of guitar, percus- rounded out with wonderful har- tar chugs could indeed have come sion, cello, Hammond organ, banjo monies. By consistently pulling from one of the darker moments on and an electric guitar with a tear- down the barriers to let her blood Blondie’s Parallel Lines (1978). But inducing twang, Gauthier once and guts shine through, Gauthier it’s when the duo play the kitsch again delivers the goods with ten touches on the essence of what it card that Pretty In Black hits the solid songs, including two covers is to live. Rawness, intimacy, re- pop climax. In Ode To LA and their (Harlan Howard’s Just Say She’s flection and survival are abundant cover of the Angel’s My Boyfriend’s A Rhymer and Fred Eaglesmith’s in her songwriting and Mercy Now Back, they ham the Sixties motif to Your Sister Cried) and a re-record- is a touching creation and a jour- the max, with handclaps, woah oh ing of her own I Drink, offering folk ney worth taking, though be pre- oh ohs, sleigh bells, timpani drums, and country in equal measures. pared for a somewhat bumpy ride. Ronnie-freakin’-Spector! It’s as if As each track uncovers a little bit Helen Griffiths had never happened. more of the mystery and history The simplicity of these songs is of Gauthier, the end product as a the key to their success as great pop. whole whips away the smokescreen Sune has always expressed his love to reveal what our genial hostess for the tragi-pop of Sixties girl groups has been keeping herself busy with like the Shangri-Las, the Ronettes since Filth & Fire (2002) became and just about everyone else Phil the New York Times’ indie album of Spector ever produced. It’s no the year. surprise then that on around half of The songs are both intimate and these songs, The Raveonettes make revealing, and are testimony to the The Raveonettes art of personal storytelling which is Pretty In Black it happen again. Many have that as intact here as it has been on any Columbia same muffled desperation, sung of her previous albums. Influenced through gritted teeth and sugar- by the truth-telling of Dylan, John «««« sweet pop harmonies. Unfortunate- Prine, Patti Smith and Neil Young, ly, a few songs towards the end of the Fronted by the 6’ icy platinum and at times reminiscent of label album grow tiresome and some of the blonde Sharin Foo and the deep, buddy Lucinda Williams, Gauthi- glistening production begins to dark and handsome Sune Rose- er is in good company and has no grate. While they do not detract from doubt been encouraged to keep Wagner, the mighty Raveonettes the brilliance of the album’s strong- the stories coming, narrative after have tended to receive more press est moments, they can hamper its narrative. Hers are told in the bar- for writing entire albums in one key flow, and the amiability that the est of settings, stripped back and – 2002’s in Bb minor heavy feedback and mono produc-

41 tion brought to the earlier albums career-rejuvenating Car Wheels On easy to enjoy this release, it doesn’t isn’t so strong. Yet despite this per- A Gravel Road (1998), the album come close to capturing the energy haps inevitable trade-off between offers a comprehensive selection of Williams’ live band in the flesh. authenticity and charm, this is still of Williams’ songcraft spanning a Helen Griffiths a great album, just not for the same decade. However, it lacks any real reasons as their previous efforts. deviations from her preciously pol- Robbie de Santos ished studio work and offers noth-

NEW ALBUMS ing in the way of narration other than the occasional uttered track title or quick slur of thanks to a sur- prisingly muted audience, though for many the lack of audience noise will be a welcome feature – with Erin McKeown little in the way of whoops and We Will Become Like Birds screams, many fans will beam Lucinda Williams happily as they sit and indulge in Live @ The Fillmore the rich depths of the music alone. «««½ Mercury But surely I am not the only one who appreciates a little artist–audi- Ingredient 1: A failed relationship ««« ence dynamic in the form of ban- at your heels and weighing on ter and song explanation, even if your mind. Ingredient 2: A room- The Fillmore in San Francisco, Cal- only once during these 22 tracks. ful of instruments with which you ifornia, is the legendary venue from I’m left with the feeling of wanting are skillfully competent. What on which Lucinda Williams chose to something more than or at least earth’s a girl to do? record this, her first official live re- different to the studio takes. Well, if you are 27-year old Erin lease and eighth album overall. As Despite lacking a new flavour, McKeown, you creatively bind to- was characteristic of the preceding the set features plenty of strong, gether the two ingredients with seven, the generous two-disc Live tight and mercurial music. The handfuls of hope, and with pa- @ The Fillmore set plentifully de- first disc, in much the same vein as tience and time, We Will Become livers the charmed smoky hues of , possesses Like Birds shall emerge. With a re- Williams’ vocals and beautifully a chilled, dreamlike quality with lationship crumbling around her, melancholic songwriting. Lovingly songs winding their own sweet way McKeown has simply picked up presented in a lavish cover featur- through the speakers. Highlights her guitar, bass, drum-sticks and ing one of the famously hand-drawn such as Sweet Side and Lonely Girls keyboards and atypically enlisted posters produced exclusively for the hint at the magic that Williams can other musicians to produce this generate with her haunting voice, venue, the album comprises high- wonderfully hopeful album. These lights from a three-night residen- while closing track Atonement spot- twelve complementary songs are cy personally selected by Lucinda lights some meticulously crafted lyrically pertinent to anyone who herself. Her pickings span five out of vocals to great effect. has survived a relationship break- her seven studio albums and have The second disc, with its vibrant up – sentiments of creation and a definite bias favouring the most and rockier stance finds strength loss, construction and destruction recent, World Without Tears (2003) in the catchy and sexily slurred are plentiful. – 11 of its 13 tracks are included Righteously, the wounded, na- In the opener, Aspera, McK- – though this is hardly surprising, ked vocals of Joy and the desper- eown is found musing on her own given that the set was recorded in ate lament of Those Three Days. discontent, singing “I’m in sham- November 2003 when Williams was The band – , Taras in full swing of the tour behind that Prodaniuk and Jim Christie – add bles, blown to bits by our troubles, album. Indeed, the track selec- skilful and soulful support with these brambles, our stumblings, tion will excite those familiar with mandolin, harmonica, drums, our struggles”, but by the second the rich, full-bodied and slightly percussion and carefully blended song, Air, she is contemplating the drowsy World Without Tears, a keys, with musical backdrops cut- wider issue of the origins of heart- record that immediately transports ting through country, folk, blues ache in general: “love! and you’re the listener into a world of distant and rock. wondering how it works, the heart hazy memories bereft of names Packed with well-told stories in- and the natural world, it’s a won- and times – a world to which most tricately detailed through fine mu- der that science can hurt”. would gladly return to in order to sicianship, Live @ The Fillmore is Though the songs are firmly in replenish those elusive warm fuzzy never a stale listen. Lucinda Wil- the camp of relationship fodder, feelings. With other songs coming liams’ ability to communicate her McKeown provides something more from albums such as the intimate experience through music is evident than the archetypal break-up al- Essence (2001) and the countrified, on all 22 tracks. But, as much as it is bum with a continuous hopeful

42 NEW ALBUMS NEW twist. Buoyant ruminations on how experience forces growth are wel- comed in the positive statement of We Are More, in which sadness is transcended in the form of “this morning I saw a glimmer of hope, in the eyes that I met at the door, of separate futures and confident sutures, to the wounds we have endured.” The album is undeniably sad and yet irrepressibly hopeful. For those who don’t appreciate The Duke Spirit an emotional battering as part and Cuts Across The Land parcel of a listening experience, Polydor McKeown’s clearly auspicious lyr- ics and musical choices reflecting «««½ a light emotional approach will indeed sweeten the medicine. With its upbeat, rising notes and tempt- ing hand claps, the overall feel isn’t one of loss – the musical scenery is as misleading as her carefree, light After 18 months in the making, it’s dribbled out by singer Leila Moss vocals. In typical McKeown style, not surprising that Cuts Across with less enthusiasm than is found her voice drifts lightly and spreads The Land is a fairly polished, at your average Saturday night warmly through the album, wind- well-produced and suitably prom- karaoke, which is made all the more ing over even the highest notes ising debut. It’s an adept and lis- disappointing because elsewhere with softness. tenable dark-edged rock ‘n’ roll on the album you discover that she With her personal evolution album. The problem arises when can do so much better. For exam- in full view, McKeown’s musical you start to wonder what exactly ple, there is infinitely more zeal on growth cannot be overlooked. She it is you’re listening to – it would Win Your Love, a high point of the is forever changing and her tenden- be fair to say that the London- record, especially if the prospect of cy to frolic willfully through varied based five-piece wear their influ- Polly Harvey fronting musical landscapes is only slightly ences on their sleeves. Sadly, these is one that excites you. But PJ diminished here. As ever though, are rarely combined into any new, isn’t the only vocal influence Moss McKeown’s musicianship is nothing innovative or interesting sound; parades – Patti Smith and Nico are short of admirable and will make rather, they are too often laid out never far from mind. Indeed, the even the most gifted a little green- bare in quick succession for all themselves are eyed. Competent enough to play all world to ear, particularly in the one of the more pervading influenc- the instruments herself, McKeown -esque riffing in the chorus es of the guitar sound throughout. of the title track to the alarmingly An- However, it seems somewhat could have easily created the al- archy In The UK-like opening chord mean spirited to continue to run bum nestled alone in a studio, but of first single, Lion Rip, although in through the tracklist namedrop- with an degree the latter this quickly dissolves into ping the many earlier, often semi- and three acclaimed genre-hopping one the album’s standout tracks. nal, acts that are brought to mind solo albums already in the bag, Erin When their influences aren’t so when listening to this record. arrived at this album with a strong apparent, such as on the inter- Perhaps in this era where excep- pedigree and looking for something minable bore that is Hello To The tional debuts seem to be the norm, new. She and co-producer Tuck- Floor, neither is the passion that promise is no longer enough, but er Martine have called on highly could have made this reasonable Cuts Across The Land is full of accomplished musicians to freely album into a really good one. In it. If future efforts can use these improvise on her compositions as fact, this track, and to a slightly diverse influences as exactly that they best know how. With Matt lesser extent, Bottom Of The Sea, and not as such obvious templates, Chamberlain on drums (Tori Amos, smack of a by-the-numbers “every as well as capturing some of the Fiona Apple), Sebastian Stein- rock album needs a couple of bal- fervour and excitement that most berg on bass (Beth Orton) and lads” approach to recording, which reviewers and music fans alike Steve Moore on keyboards (Laura fails to showcase properly any of agree that the band exhibit when Veirs), the album wears an impul- the bands talents, except possibly on stage, then they are certainly an sive band feel. Collaborations with an ear for a nice couplet, as the act worth keeping an ear out for. singer-songwriters Pete Mulvey and frequently well-crafted lyrics are Scott Millar

43 Spanish chanteuse Juana Moli- where Caroline in her reminiscence Recorded almost entirely live by na on Delicate December and The is working as an attendant. The two producer Joe Henry, it’s a marvel Golden Dream, respectively, also ignite a spark in one another and that the mix is so refreshingly roomy. add a different dimension. head for the border in an old Ca- By adopting heavy doses of stereo The rich, multi-instrumental dillac to escape the humdrum and separation, the production breathes path set out by her previous album hassle of smalltown life; however, with a rare and cinematic verve. Grand (2003) is trodden even fur- all is not well. John’s experiences Guitarists Jeff Trott and Julian

NEW ALBUMS ther here, breaking away from that have left him a hard-drinking, drug- Coryell turn in a few solos that record’s jazzy, Fifties-style swing. addicted gambler whose luck is never feel overcooked, and togeth- Slick production and a stark re- cooling faster than either can er with drummers Victor Indrizzo duction in guitar focus have aug- fathom. As the Ronseal-style title and Jay Bellarose and bassist Paul mented this effect. McKeown is no suggests, Goodbye Caroline sees Bryan, they consistently add a Sev- longer the folkie that appeared on a parting of the ways. Having lost enties flavour without overwhelm- every asset but the car, John heads ing the broth. scene in 1999 with north to San Rafael to get himself There are some who will think Monday Morning Cold. Regard- clean and earn some quick money. this is Mann by numbers – more less, with perhaps her most com- Inevitably, nothing’s ever so simple disaffected, drugged-out also rans mercially accessible album to date, and Going Through The Motions is holding onto their last scraps of Erin McKeown is stepping back a peek into the mind of Caroline as dignity – but this is a delicately nu- into the alternative spotlight while she realises the effort is a certainty anced side to the singer that’s both laudably retaining her enthusiam to fail. new and impressive. She has al- for experimentation, her charming John is by far the better sketched ways excelled at the role of coroner, vocal style and a distinctive and fa- character and his sad and sorry picking over the carcasses of long- miliar originality. Helen Griffiths situation is skilfully drawn out dead love affairs, extracting the evi- over a four-song suite begin- dence and leaving her lyric sheets ning with the foggy I Can’t Get My dangling from their toes. Head Around It and culminates Within the central conceit of in the grimy hotel room of Little the concept, Mann has allowed Bombs in which he realises that herself the luxury of a more detailed he may never recover. The high- analysis, and while this at first may light of the album, however, comes render some of the songs seemingly with Caroline’s dejected throw- superfluous (and a couple are a Aimee Mann ing in of the towel, a handsomely little samey), repeated listens peel The Forgotten Arm understated ballad fantastically back ever more layers. Such lack SuperEgo/V2 titled That’s How I Knew This Story of immediacy was also evident Would Break My Heart. on her previous release, Lost In «««« In what is supposed to be their Space (2002), though this also final meeting, theaalso rather self- rewarded the persistent listener Somewhat fittingly for an artist who explanatory I Can’t Help You Any- with greater depth than the surface famously soundtracked a movie in more kicks off the regret in a rather sheen suggested. reverse – Paul Thomas Anderson’s unremarkable fashion, but the love- In boxing, the “forgotten arm” multi Oscar-nominated ly piano-led I Was Thinking I Could refers to a decoy sparring manoeu- (1999) was based on her songs, Clean Up For Christmas offers one vre in which one arm is deliber- not the other way around – Aimee last hope of salvation. Lyrically, it’s ately underused until the sudden Mann’s latest endeavour is a vi- simply gold standard Aimee Mann strike for a KO. In something of a brant and fully realised sonic novel – “I was thinking I could clean up departure for Mann, it is hope that in a similar vein to Tori Amos’ no- for Christmas and then, baby, I’m delivers the sucker punch, the madic narrative Scarlet’s Walk done, one less fucker trying to get final blow of the twelfth round. In a (2002). While the latter was an inti- in the business of the prodigal son” perhaps unexpected reprieve, Mann mate love/hate letter to a post-9/11 – and the melody here is one of gifts her creations a hard-won America, The Forgotten Arm has a the album’s more memorable mo- bittersweet compassion in which far narrower focus, chronicling as it ments. After all, therein lies one of they realise that in a world where does the oscillatory relationship of the pitfalls of the concept album as so many dumb things are said Caroline (a seemingly aimless victim a genre. When the narrative takes in haste and countless things go of circumstance) and John (a down- such precedence, the music can maddeningly unuttered, some- and-out boxer and Vietnam war often fall by the wayside as a sec- times, just sometimes, a simple veteran). Both journeys, however, ondary concern. Not so with The “you’re beautiful” can tear down happen by the US state of Virginia. Forgotten Arm. In fact, it boasts the fortresses of doubt and permit Indeed, Mann’s story begins there, some of the most muscular music that longed-for fresh start. on the midway of the VA State Fair, of Mann’s solo career to date. Alan Pedder

44 NEW ALBUMS NEW photo by Ken Schles Martha Wainwright Martha Wainwright Drowned In Sound ««««

When writing about Martha Wain- of songwriting that may have en- number of voices fighting for at- wright, youngest progeny of dured a long gestation, but for tention. Far Away and Whither I the McGarrigle/Wainwright dy- fans of her live sets, this album Must Wander, a traditional cov- nasty, it has become standard reads like a “best of” collection. er, bookend the album and find fare to open with family trees, Having spent these formative Martha at her most sensitive and domestic wounds and sibling years opening and backing for subdued, while Ball & Chain is rivalry. Releasing her debut al- Rufus, Martha has acquired many infused with all the resentment, bum within months of father fans of her raw, whisky-coated vo- hurt and resignation of a lost love. Loudon Wainwright III’s Here cals over earnestly-strummed gui- With a lyrical candour that re- Come The Choppers and broth- tar strings. Now at last rewarded calls fellow Canuck Alanis Moris- er Rufus’ acclaimed Want Two, with a record deal on independ- sette, Martha places herself firm- Martha has avoided trying to ent label Drowned In Sound, the ly at the centre of her songs, and emulate the theatrical excesses of songs translate well to disc with- while her voice takes centre stage her elder sibling as this assured out compromising their heart-on- here, the harmonies complete the debut’s musical roots are closer sleeve simplicity. For instance, musical landscape far beyond the to the country-tinged of Don’t Forget, complimented here horizon. It’s not all plain sailing mother Kate McGarrigle. by Kate McGarrigle’s dreamlike however. The album’s MOR low In the McWainwright’s her- piano, is a beautiful realisation of comes with the anaemic lyricism metically-sealed world, writing a live favourite. Cousin Lily Lank- of This Life. “This life is boring”, songs about family members is en also contributes, not only with she begins with an uncanny accu- perhaps one of the more creative honeyed backing vocals, but also racy. However, normal service is forms of psychological cathar- the paintings that adorn the in- resumed with latest single When sis. While Loudon was still reel- ner artwork of the sleeve. Rufus The Day Is Short, and, alongside ing from Rufus’ ode to paternal returns Martha’s many favours by the achingly good BMFA, the absence Dinner At Eight from Want cropping up, albeit with far less album subsequently scales one One (2003), Martha provided the of his usual gusto, on Don’t For- peak after another. killer blow with last year’s Bloody get and The Maker, particularly On his latest album, Rufus Mother Fucking Asshole, an acid- impressing on the latter as their sings on Little Sister a tale of par- tongued riposte to a father who two voices interweave along a pre- anoia at being eclipsed by his tal- once wrote that his daughter cious swirling melody. ented sibling. Martha, however, was “just a clone of every woman While Martha admits that should not be so concerned with I’ve known.” many of her songs fall into the such familial one-upmanship Turning thirty next year, Mar- “woe is me” vein, the album itself when her strongest competition tha’s first album proper is the has many faces and one album is evidently with herself. culmination of over seven years is almost too little to contain the Stephen Collings

45 Sons & Daughters The Repulsion Box Domino ««««« photo by Robbie de Santos NEW ALBUMS

The Repulsion Box is the first wegians, The Delgados, mostly and Taste The Last Girl disprove full album from hard-edged Glas- due to the male/female singing that theory. However, it’s pretty wegian band Sons & patterns. Frankly, that’s ridicu- unlikely that these will lead to a Daughters, formed in 2003 by lous, the hometown and the gen- slot on just yet. ex-Arab Strap bit-parters, der balance are the only similari- The final part of the jigsaw is Bethel (vox, guitar, piano) and ties here. The Delgados are sorely provided by producer Victor van David Gow (drums, percussion). missed, but Sons & Daughters are Vugt, who has previously worked Alongside bassist Ailidh Lennon not here to provide a stopgap. with PJ Harvey and Beth Orton, and guitarist/co-vocalist Scott On the subject of dual (or du- though his long-standing col- Paterson, they released their elling) vocals, whilst Paterson is laboration with & The debut seven-track mini-album, nominally the co-vocalist in Sons Bad Seeds is a more fitting refer- Love The Cup, in July 2004 to & Daughters, in reality he’s more ence point in the context of this widespread critical acclaim. the dark, deadpan backing vo- album. You can certainly pick In fact, the Strap connection cal to Bethel’s more varied, more out some of the Australian’s dark provides two key elements in the passionate and ultimately more glaring foreboding, brilliantly Sons & Daughters equation – a frightening lead. This is how it helped along by the death-, break penchant for the darker things in should be; Paterson’s not a bad up- and murder-inspired lyrics. life and a willingness to sing in singer by any means, but it’s clear Indeed, Bethel is positively pant- their native accent, the when he takes to the front, such wetting in the closing track, Gone, latter of which only adds to the as in the second verse of Mon- shrieking “I’ll cut you out of every overwhelming sense of menace sters, who it is that makes this photograph to within an inch of that runs throughout this album. record outstanding. That said, your life!”, channelling the spirit It almost badgers you into appre- the Paterson-fronted Rama Lama of a bunny-boiling psychotic. ciating it, conjuring up an image is one of the best tracks on the The relentless musical assault of Bethel leaning down, spitting album. A slower-paced, stomp- might make this album difficult and sneering in your face as her ing, chanting verse that bursts for some listeners to stick with bandmates draw in ever closer, into an energetic, derisive Bethel- all the way through without want- backing her up with a relentless screamed chorus, alternately ing to hide in a corner, but track wall of drums and guitars warn- cresting on waves of quiet men- by track it will insinuate itself ing you that you’d better like it, ace and passionate anger – it’s a into your playlists until every- or else. deadly combination. That’s not to thing else begins to feel almost Some comparisons have been say that Sons & Daughters don’t unimportant and trite in compar- drawn between Sons & Daugh- have a pop sensibility to go with ison. In a word, essential. ters and now-defunct fellow Glas- it; tracks such as Dance Me In Scott Millar

46 NEW ALBUMS NEW

Having been described by De- very antithesis of extravagant, but is vendra Banhart as his “favourite in fact “entirely coincidental”. That singer-songwriter in all of New York is, according to the cheeky-faced City”, and featured on his Golden creator of last year’s most aptly Apples Of The Sun (2004) compi- titled album, The Lovely. Recorded lation (alongside Joanna Newsom, over several years and completed CocoRosie, and more) with Heat on a secondhand laptop in a north Diane Cluck From Every Corner from her Macy’s London flat, The Lovely displayed Oh Vanille/ova nil Day Bird (2002) album, Diane is a staggering yet homely virtuosity Cargo certainly not short of cult figure en- paired with through-a-glass-darkly dorsements. She is also linked with operatic vocals that placed Carlyle ««««½ the antifolk movement spearheaded somewhere along the continuum by the likes of Herman Düne and between early and the If the world was bequeathed a stan- Jeffrey Lewis, though her classisis- gentle lilt of Kathryn Williams. za of poetry for every time it’s been tic sensibilities and ornate melodies Continuing the cutting theme written that such and such a song- seem a little at odds with some of momentarily, that album opened writer was inspired by the tortured her crasser stablemates. She cer- with the unforgettable combo of complexities of Sylvia Plath, we’d tainly comes across more demurely eerie vocals and bendy DIY essen- have assembled a monster modern than, say, Kimya Dawson, claiming tial that was The Saw Song (Car- epic to rival The Iliad and Odyssey little more than that she likes “to lyle once played in a trio called The combined. Clearly, this is no bad play different instruments and sing Weeping Saws; clearly, she knows thing – Plath’s intensity is addic- and write songs.” her way around a pun or two) but tive and energising as much as it is If there’s any justice, she’ll be it’s the sweeping, smoky I Blame famously wretched – but the com- doing it for decades to come, and You Not that finds its way onto this parison perhaps lacks imagination. should Oh Vanille/ova nil ever re- EP. Sounding for all the world like From the clever wit of the title in, ceive domestic recognition, a New- a lost in pen- however, New York nutritionist Di- som-style word of mouth stoking of sive mode classic, it would have ane Cluck’s fourth release better this so far highly secret pleasure is sounded equally at home on Feist’s recalls the less studied, rawly hu- almost guaranteed. Alan Pedder Let It Die (2004). With its muffled manistic and life-affirming work of piano, soft jazzy drums and sooth- former NY state poet laureate, Sha- ing background coos, it single- ron Olds. Both bring a worldly mel- handedly dislodges the stake from lifluousness to the boil, daring the the heart of the torch song ham- reader/listener to continue and de- mered in by the likes of Katie Melua livering the kind of emotional pay- and the soporific . off that’s totally unputdownable. The Carthagian connection ar- Over the course of these eleven rives in the form of a cover of Dido’s truly memorable songs, recorded Mara Carlyle Lament from the Henry Purcell op- in her apartment during the sum- I Blame Dido EP era, Dido & Aeneas. This was not, mer of 2003, Cluck’s voice is the Accidental as it happens, wholly inspired by constant main attraction, coax- the baroque original, but by a spir- ing out her insanely astute lyr- «««« ited take by the dearly departed ics with a peculiar and uniquely Jeff Buckley. “ was clipped glottal beauty. When dou- Legend has it that upon her arrival meant to be filled with passion ble-tracked in the rousing Easy To in Libya, Dido, the founder queen when it was written” says Carlyle, Be Around and the spectral a cap- of Carthage, was permitted to buy “But these days people are too rev- pella of Petite Roses, it’s enough only as much land as could be cov- erential about it.” The result is a to stop and swoon to. Elsewhere, ered by a bull’s hide. Being a wily distinctly tasteful rendition that the stark bruised balladry of All little minx, she thus proceeded to builds in intensity to a dreamy mul- I Bring You Is Love, Wild Deer At slice the skin into slivers so fine ti-tracked refrain of “remember me, Dawn and the sensational Yr Mil- that they encircled an area of sev- my fate.” It’s measured, certainly, lion Sweetnesses is poignant and eral acres, upon which she built but never dull. Carlyle returns cliché-free, the songs gliding like her city. As such, the phrase “to again to essential listening terri- silk-gloved fists along their airy cut up didoes” came to describe an tory with a bizarrely soulful cover arrangements. Likewise with the extravagant behaviour. of labelmate Dani Siciliano’s Walk heart-rending Bones & Born Again On first impression, the title The Line from last year’s Likes… al- – there’s no clutter here. Cluck has of Shropshire-born Mara Carlyle’s bum. Maybe it’s the slightly comical achieved the elusive optimal mini- new EP may seem like an attempt baritone beatbox on the blink, but malism that’s easy to get so very to sever a chunk from the crown of its charm is infectious and some- very wrong. our own queen Dido, perhaps the how improves on the original.

47 On this evidence, Carlyle’s up- an album should still be listened coming covers album on which she to properly, tracks one through will tackle material by her icon Dolly twelve, at least until you can safely Parton and the extraordinarily odd discard some of them without the bedfellows of Iron Maiden, Robert risk of overlooking a nascent clas- Palmer and OutKast, is going to be sic. It is therefore surprising that spectacular. Frankly, anyone who Ruby Blue’s opening salvoes – the

NEW ALBUMS compares opera singing to “weight ones supposed to leap up and grab lifting whilst reciting poetry from you by the balls – are so tentative, memory whilst convincingly acting especially given how much this like you’re about to cry/laugh/kill/ album has to prove. A faltering tin- shag someone” is more than alright kle of keyboards kicks-off Leaving by me. If you loved The Lovely, this The City, meandering in an aim- is like manna from heaven. Else, if less fashion that soon becomes a you somehow missed out, get this trademark of the album as a whole. as an entrée and proceed to the Eventually, that husky croon we main course directly; do not pass know and love shuffles to the fore- swirling, multi-layered vocals. Sad- Dido, do not regret £10. front and remains there, steadfast. ly, it’s an all too brief glimpse into Alan Pedder Reassuring? Unfortunately not. the heights that Murphy and Her- Instrumentation behind a voice as bert could scale, but… well… don’t. strong and distinctive as Murphy’s The album’s solid middle section should complement and support, finishes here, bookended by a not jar as much as this. Herbert’s clutch of damp squibs. It bows out conscious decision to use a ram- on as subdued a note as it started. shackle collage of everyday random Perhaps Murphy really was assum- noises, jazz refrains, dance grooves ing that people would listen this and synthetic skiffle very rarely hits solely on an iPod Shuffle. Róisín Murphy the right note. Night Of The Danc- This record might have served Ruby Blue ing Flame can only be described as as a versatile and grandiose addi- Dizzy Gillespie meets The Ewoks. tion to Matthew Herbert’s portfolio Echo Things are a little brighter with – surely his magnum opus so far. «« Through Time. It’s a welcoming Instead, it falls flat, weighed down simpler affair, wrapped in gentle by overbearing vocals far too high Rumours of ’s death have layers of organ and decorated with in the mix and much too complex been greatly exaggerated. At least, plucked acoustic guitar and cas- to play bedfellow to the laboured I sincerely hope so. When quizzed cading arpeggiated motifs. Herald- production. Indeed, this is as much on reuniting with her ex, Mark Bry- ing a string of stronger offerings, it Herbert’s record as it is Murphy’s, don, the impossible-to-type Róisín is soon followed by Sow Into You. but ultimately it’s to the detriment ‘pronounced Rosheen’ Murphy has Here, one is reminded of Muphy’s of both. Alex Doak offered the predictably gnomic re- Moloko diva status; a status built sponse, “I don’t not want to.” on a dance remix of Sing It Back That’s promising enough for this which made it onto over a hundred listener. While the familiar set-up compilations and hundreds more remains intact – feisty, barking- dancefloors. The first and most ob- mad Irish vocalist meets cutting- vious single from Ruby Blue comes edge bedroom DJ turned producer with If We’re In Love, easily the – none of Moloko’s loveable Bal- most accessible and immediate of earic stomp has survived. Instead, Murphy’s erratic stable. “If we’re in Murphy’s defection to one Matthew love, we should make love. When Saint Etienne Herbert has resulted in an album of will be lovers?” she asks. One has Tales From Turnpike House two halves; those of two egos. One is a sneaking suspicion that this en- Sanctuary fragile and over-compensatory, get- igmatic girl isn’t letting on as much ting back on its feet after a year of as we’d like to imagine. This is a «««« limbo, and the other overwhelmed lyric as poptastically bland as the and eager to please. This album market she’s aiming for. Thank the blue expanse above for is a make-or-break statement for For me, the title track is far too Saint Etienne, perennial vanguards both parties, which only adds to long coming. Buried three-quarters of fair Londinium, and their inimi- the overall disappointment. of the way into the album, it’s a glo- table eye for a sorry mundanity in Even in a world of iPod Shuf- rious romp of grunge guitar, hand need of a paean to its ordinary glo- fles and cut-and-paste playlists, claps, jubilant backing “woos!” and ry. Clearly, whoever in radical Islam

48 NEW ALBUMS NEW wants the capital on its knees hasn’t Where Saint Etienne have been of their careers rather than the reckoned with Cracknell and co. less successful in the past, it’s al- twilight, let alone profess to writ- Their latest feat of escapism, Tales most always been the fault of be- ing music that they themselves From Turnpike House, is a concept ing just that little bit too knowing, would not buy. But that is precisely album so familiar in its themes of in- a fault repeated here on the stilted the situation in which the 29-year ner city struggle and on the point of and silly Relocate, a marital wobbly old part-Scottish, part-Cantonese bursting bubbles of esteem that it’s about moving to the country featur- theatre studies graduate has placed utterly engaging for the most part. ing none other than David Essex as us. Can she be taken at all serious- Over the course of the 12-track song the reluctant husband. It’s as if the ly in light of such revelations? The cycle, the Ets unravel a day in the Tom Jones/Cerys Matthews duet answer, thankfully, is a large plate life of of an East Lon- on Baby, It’s Cold Outside never of yes with just a small garnish don high-rise, the titular Turnpike even happened. Even William Shat- of no. House. As such, the album opens ner managed to mostly avoid such There is no question that Tunstall with the breezily optimistic two- cringesome pitfalls on last year’s is in possession of a disarmingly ver- some of Sun In My Morning, a gentle Has Been. Nevertheless, Tales... satile voice, best displayed here on strum that lazily blossoms with win- is a dignified return to form after the proverbial sore thumb that is some Beach Boys harmonies and a the mostly disappointing Finisterre Black Horse & The Cherry Tree, a re- gossamer-light flute solo, and Milk (2002), and one that will ensure that freshingly odd toe-tapping singalong Bottle Symphony, which, quite sim- their legacy remains intact if, as the rooted in swampy blues. As a first ply, may well be their finest moment abounding rumours suggest, it does single, it’s almost entirely unrepre- yet in a 15-year long career. Serving indeed turn out to be their last al- sentative of the album as it stands, as more than just an introduction bum together, at least for grown-ups though one suspects not of the al- to the denizens of Turnpike House that is – September’s Up The Wood- bum Tunstall had in mind before the (one of whom, Gary Stead, appears en Hills will be aimed at, though by creases were A&R’d out. Given that in no fewer than three songs), it’s an no means restricted to, those who’ve her live shows are considerably more irony-free and poignant glimpse into recently mastered the feat of walk- engaging than this sometimes samey the morning rituals of the plateau’d ing from the high chair to the potty. record would suggest, even garner- and downwardly mobile. At a time when London is reeling ing comparisons to the more vis- Elsewhere, the work of Girls from the first blood of a psychologi- ceral rock of Carina Round, Tunstall Aloud producers yields cal turf war, Tales From Turnpike clearly has the potential to make an that rare beast, an emotional dance House is not just another album album more vital than this. number (!), in the guise of Lightning from the city’s most enduring mu- That nagging frustration aside, Strikes Twice, which recounts the sical champions, but also an affec- Eye To The Telescope is by no laments of a failing new-ager. They tionate tour of an instantly recognis- means bad. There are enough also crop up to polish the charm able but altogether less harrowing moments of swagger and poise to offensive of Stars Above Us, a sweet- reality. Get lost in it. delight a wide audience and the al- ly gratifying floor-filler extolling Alan Pedder bum’s shortlisting for the 2005 Na- the simple virtues of a roof garden tionwide Mercury Music Prize would in this reverse oasis of concrete. certainly have pricked up many a Other highlights include the sultry new ear. False Alarm, the title track first single,Side Streets, a tune that from last year’s debut EP, is a fine swings so unapologetically that it’s example of accessible melancho- easy to overlook the urban para- lia, and the similarly accomplished noia/violent crime lyrical bent, and Stoppin’ The Love is almost down- A Good Thing, a hefty slab of disco right groovy. Elsewhere, Other Side Etienne at their finest. The mostly KT Tunstall Of The World is her power ballad spoken word Teenage Winter mines Eye To The Telescope moment and she handles it with a similarly rich seam of nostalgia as aplomb. Sure it sounds a little cal- the glorious How We Used To Live Relentless culatedly widescreen, but if Avril from 2000’s , this ««« Lavigne could get away with I’m time with an added twist of the in- With You, Tunstall’s off the hook. evitability of change and the futility KT Tunstall is something of an The somewhat Norah Jones-a-like of resistance. Album closer Good- unusual prospect in these parts. Under The Weather and the raspy night is also worthy of a mention, Rarely does an artist on a major- Miniature Disasters are also worthy with its soothing backdrop of wist- label imprint freely admit to hav- of attention. ful boy–girl harmonies drawing the ing sacrificed their artistic vision to Overall though, despite a number cloak of evening around the humble satisfy the commercial demands of of flourishes and the glaring prom- tower block. the suits, at least not in the dawn ise of a prodigious new talent, Eye

49 To The Telescope suffers from a her native land. However, the al- few too many generic contributions. bum received little fanfare in the Though it’s tempting to think that UK upon its release and sank with- had she stuck more rigidly to her out a trace. So what of Ms. Marlin original blueprint we’d be listening in 2005? Gone are the silly hats to a far better album, this is, after and hoodies from her previous all, only the beginning. The true test videos and in their place comes a

NEW ALBUMS of Tunstall’s determination to find gorgeous, mature new look and a Maria Taylor her sound will come later. grown-up collection of eleven new 11:11 Alan Pedder songs that she describes as “dif- Saddle Creek ferent moods and flavours, a real personal effort and the best record ««« I have ever made.” Perhaps she is listening to a On this, her debut solo album, different album. Lost In A Mo- Saddle Creek staple Maria Tay- ment is no genre-busting feast of lor sings as if trapped behind a musical styles. Like its predeces- veil. As a result, too many of the sor, Another Day, it is a pleasant songs enclosed herein hold all Lene Marlin enough collection with some nice the sensual suggestion of a whis- Lost In A Moment touches, but fails to really engage. per but lack the electrics of touch Virgin On the rockier-than-usual open- to fulfil their heady promise. Cer- er, My Lucky Day, Marlin some- tainly, there are many bewitching ««« how manages to seem even more melodies at work in the rear, but disinterested than Taylor’s vocals are often at best OK, just for one moment suppose – not a good place to start. For- lethargic and, in places, even mo- that at just 17 years old you had tunately, things improve quickly; notonous. The opener Leap Year the fastest selling single in Nor- the quietly beautiful All I Can is a prime example – Taylor in- wegian music history and then at Say is reminiscent of her earlier tones impassionately over a com- 22, two best-selling platinum al- work, and first single How Would plex but undistinguishing mess bums under your belt. What the It Be is one of the more upbeat of instrumentation, leaving an hell would you do next? Well, if numbers. It’s a nice jaunty pop unfortunate sense of so what? you were Lene Marlin, you’d hide song, catchy enough to be sung This is not a newly-acquired trait yourself away and secretly make along to after a few listens and is either. Certain songs in her band an album with top Norwegian pro- certainly the kind of song to be ’s three-album oeuvre, duction trio StarGate, who have found playing over the credits in have fallen equally flat. had hits with Mary J Blige, Mariah Generic Teen Girl Movie 2. Tellingly, the most vital songs Carey, Texas, Cher and Brandy, As for the rest? Well, despite here are the ones uplifted through among others. What started out the odd highlight (Never To Know, guest star turns by her bright- as a personal experiment for the Eyes Closed), the songs tend to eyed boyfriend and Saddle Creek now 24-year old quickly morphed wash right over the listener to label boss (Song into a full album; even her record the extent that some may even go Beneath The Song) and her Now company were not expecting an unnoticed (e.g. When You Were It’s Overhead cohort Andy LeMas- new opus until she turned up Around). It is a shame because ter (Hitched). Remarkably, One with the finished article. Marlin is in possession of a beau- For The Shareholder is a decent So, a short history lesson for tiful voice and the kind of image enough stab at dancefloor both- those unfamiliar with Lene. Back that should be marketable enough ering, but it jars enormously with in the mists of 1997, her debut to sell records by the truckload in the rest of the album and is per- album hit big the UK as well as . haps best listened to when taken with a clutch of smash hit singles, It may be a little soon to say out of context. The veil is lifted going on to sell 1.8 million copies whether Lene Marlin peaked too a little on simpler tracks such as across Europe. Faced with such early in her career with the diz- Two Of Those Too, Nature Song overwhelming success at a young zying pop heights of Unforgivable and Speak Easy, and these carry age, Marlin walked away from the Sinner and , greater a emotional impact as a music industry and it was anoth- but certainly next time it will take result, though the two former are er five years before she felt ready more than this competent but perhaps overlong and don’t really enough to try again. Her second rather samey collection of songs go anywhere. album Another Day was released to blow her public away. The production by LeMaster in 2003, bringing more success in Ian Addison and Mike Mogis, another Sad-

50 NEW ALBUMS NEW dle Creek regular and sometime “arty”, the sun is shining and the outfit with those member of Bright Eyes, is partly temperature is just perfect for a from Queenadreena’s debut al- to blame for the album’s overall day trip. bum Taxidermy (2000) and the unwelcome detachment. The in- Shame then that having spent follow-up, Drinkme (2002). In- struments, and particularly the a few hours treading its highways deed, the overtones of the latter strings, seem to flounder too low and byways, I can’t help but feel are clearly audible in the opener, in the mix, adding to the absence that the town planners could have Suck. Miss Garside’s abrupt tran- of immediacy. Although 11:11 done more with Axes to make it sitions from cutesy singsong to does thaw slightly with repeated more attractive to casual visitors. banshee screams are as remark- listens, Taylor’s ambition is used Although this third album once able as ever and tastily comple- too sparingly and spread a little again proves that Electrelane are ment the shimmying metal wail too thinly to make this anything skilled musicians and are able of her band. Beyond the melody more than just a pleasant listen. to hold an exceptional rhythm, it and tight composition, there lies Alan Pedder seems that nowadays that’s just a sleazy desperation and grimy not quite enough to make the energy to the song, making it just masses voluntarily flock to Axes. one of many highlights. It’s the kind of town that will But The Butcher & The But- rarely find its way into anyone’s terfly is not all fitfully thrashy, much-loved holiday snaps. many of the tracks reveal a versa- This particular day trip feels tility and eclecticism that casual much like a Sunday stroll along listeners may well be surprised the promenade. Despite the deso- by. In fact, it’s a wonder to listen Electrelane late, almost ghostly sleeve hinting to. From the tribal thumping, coo- Axes at a dark netherworld, the outlook ing and moaning of Medicine Jar at Axes is actually pretty mellow; to the chilled out acoustics and Too Pure mostly instrumentals with the whispery melody of Birdnest Hair, «½ occasional highlight coasting in the album offers a great deal to on a much appreciated breeze. those who would give it a chance Brighton is, as far as I’m con- Without the irrepressible gusto of and flirt with their own dark cerned anyway, only good for these, anyone visiting Axes might side. First single FM Doll is a dis- taking your relatives to when you be tempted to just fall asleep on turbing tribute to murdered US can’t be bothered to drive into a bench overlooking the shore, child star, Jon Benet. Among the London or up north, and perhaps missing the last train home. warped cabaret of crashing gui- to provide an easy apex of conver- Endre Buzogány tars and drums and Katie Jane’s gence for various rallies (cars, cy- sexily macabre vocals, there is cles, and politicians, for a blunt but poignant ballad of example). Oh, and sanctuary for the sinister goings on in Benet’s aging cheesy DJs. So I was really family, hinting at the suspicion hoping that East Sussex four- of child abuse that surfaced in piece Electrelane would show me the wake of Benet’s own parents a new town, a revitalised seaside standing accused of her death. resort brushed clear of its cob- That sombre note aside, The webs, with newly painted shop Butcher & The Butterfly is a fascias and nay a broken light- Queenadreena wildly accomplished album with a bulb on the rides. The Butcher & The Butterfly list of influences that range from Plugging in my headphones, One Little Indian metal to blues via folk and be- I was transported in an instant yond. It is proof that Garside and to Electrelane’s creation, with «««« her long-time musical partner a packed lunch, petty cash and Crispin Gray have continued to a camera provided. The town is After a three-year hibernation, grow as musicians since their be- called Axes. People are milling Katie Jane Garside and friends ginnings in Daisy Chainsaw. That around. Above the gentle lap of return to the fray with third al- evolution will be further consoli- the waves, intriguing sounds are bum, The Butcher & The But- dated by their forthcoming Live abounding. There’s a vague sense terfly. Expanding upon the At The ICA, and on the evidence that somewhere nearby The Fall band’s past glories and unique of this impressive album, it, like are jamming with Tom Waits, delivery, the album seemingly all things Queenadreena, should Blurt and assorted prog rockers. and seamlessly splices the var- not be missed. Yes indeed, Axes feels pleasantly ied sounds of Garside’s previous Sean Hudspeth

51 Janis Joplin This October marks the 35th an- Alive In The Blues only serves to Pearl: Legacy Edition niversary of the day that Janis remind that, had Joplin lived for Columbia/Legacy Joplin unintentionally took her just one more day, it would have own life in an LA motel room with been completed with vocals and ««««« a lethal heroin overdose. She was all. The other, the gorgeous Pearl just 27 years old and on the cusp is available here for the first time REISSUES of what was shaping up to be the and is a touching tribute to Janis most rewarding time of her life. from her band, titled in honour of Since 1990, the Grammy-award the nickname given to Joplin by winning Sony BMG subsidiary those closest to her. Other bonus Legacy Recordings have been re- tracks worth mentioning are the warding the patient with lovingly endearingly banter-laden acous- packaged and often essential “re- tic demo of Me & Bobby McGee imaginings” of some of the most and a handclap happy version of beloved albums ever recorded. In Move Over. Joplin’s case, there is no doubt The second disc collates record- that Pearl (1971) is the jewel in a ings from three different live shows distressingly small discography, from the summer of 1970, in- and this long-awaited full Legacy cluding live versions of Piece Of Edition adds no fewer than six My Heart, Summertime, Try (Just bonus tracks to the original al- A Little Bit Harder) and more. bum plus an additional live disc of Every song is a spirited affair and 13 songs recorded during 1970’s is further testament to her power- Canadian Festival Express Tour. ful and ingratiating onstage per- While some of these have previ- sona. Contrary certainly, but she ously been available on either the used her insecurities to propel a 1999 single-disc of Pearl live show like few have done since. or the 2001 3CD boxset Janis, In my favourite Janis anecdote, it many are newly unearthed. is said that when warned her voice After two mostly bewildering would not sustain such repeated albums recorded with the psych- hammering, Joplin retorted that edelic Big Brother & The Hold- she’d rather not be an inferior per- ing Company in which the sheer former for the sole reason that she sonic intensity threatened to could be inferior for longer. It’s this overwhelm even her powerhouse dedication to her art for which she vocals, Joplin formed the Kozmic should be most praised. No mere Blues Band for a successful but blues belter, Janis Joplin was an patchy album before disbanding intelligent and vivid woman with them, taking Brad Campbell and unparalleled grit and commitment. John Till with her and gathering Given the timelessness of Pearl around her a more sympathetic as a document of sheer vitality, ensemble in Full Tilt Boogie. The it’s maddening to think what she results were astoundingly raw, could have accomplished if only focusing on her gritty and revi- she’d had more time. talising vocals more than ever be- Alan Pedder fore. Everyone has their favour- ite tracks, and with stone-cold classics like Me & Bobby McGee, A Woman Left Lonely, Move Over and Cry Baby to choose from, it’s no mean feat to elevate a single cut above the others. Even the sadly overexposed Mercedes Benz still sounds fresh in its natural context, positively brimming with Joplin’s sense of humour. Of the two instrumental tracks on the first disc, both are poign- ant reminders of our loss. The frantic keyboard wig out of Buried

52 REISSUES Chicago from New York where she tar motif lies a melody that’s lift- had been playing in a number of ed from an old song long-forgotten bands. Having be- played backwards. The gorgeous friended members of the Drag ballad, Tender Kiss, is similarly City stable and other Chicagoan impressive, mixing violin, flute icons of indie, including Gastr and a subtle complex programmed Del Sol, Rian Murphy, Eleventh drum pattern with some of her fin- Dream Day’s Rick Rizzo and The est vocal harmonies. High Llamas’ Sean O’Hagan, the As mirrored by the simplicity of sessions for its quietly dramatic and organic certainly had no shortage of tal- sleeve, Wonder Wonder signified ent in the studio. That the results a step away from Telescopic’s live and breathe as they do (albeit thicker fog of indie aspirations. with a slight sense of spacey dis- That’s not to say that Frost had Edith Frost connectivity) is testament to the returned to her humbler origins Calling Over Time skilful pool of players. The lasting – Wonder Wonder is a much more sense is one of reassuring melan- ambitious and focused record than cholia; that is to say, her songs her previous work, once again fea- «««« are rarely depressing – they’re a turing Rian Murphy on production Telescopic little too detached and distant for and a dozen other players, not to Drag City such extremities – but somehow mention as sound comforting in their minimalis- engineer. Many of the songs have «««½ tic mulling over of fate’s crueller the feel of a twisted orchestra, but Wonder Wonder twists. Standout tracks include the central stylistic touchstone the bruiser Temporary is subdued and thoughtful coun- Drag City Loan, the achingly pragmatic Too try. Songs like the snappy title «««« Happy, the heartbreaking Wash track and the immensely hum- Of Water and the weary defeatism mable Cars & Parties (surely her Edith Frost is living, wonderful of Albany Blues. great lost single) sit comfortably and irrefutable proof that even Frost returned the following alongside trickier material. The cowgirls really do get the blues. year with the even hazier but Fear is reminiscent of an eerie Her knack with a minor key and more meaty Telescopic. Opening midnight walk through a haunted simple but never underspun sto- with the fuzz-strewn lo-fi indie fairground, while True is the very ries is, or should be, the envy of pop of Walk On The Fire, a dark definition of desolate. She also many. Why she is not revered in and mournfully menacing song gifts us what is surely a country wider circles remains a mystery that early would have standard in waiting with Honey – one that may well be favourably chewed an arm off for, the album Please. I wouldn’t be surprised to and deservedly solved when her signalled a clear progression from hear Emmylou Harris cover it at long-awaited fourth album It’s A its sparser predecessor. Produc- some point in the future. Closing Game is released later this year. As tion duties were fulfilled by the with You’re Decided, a break up a generous precursor to this long curiously monikered Adam & Eve, song laced with despair and re- anticipated arrival, Drag City have better known as Neil Hagerty and gret, the listener is left with little graciously reissued all three of her Jennifer Herrema of Drag City doubt that Edith Frost’s ability to previous efforts to reacquaint us signings . Other con- convey any emotion precisely and with their charge. tributions came from the ever- without lyrical excess is a wonder Signed to the label in 1994 present Rian Murphy and Tsuna- in itself. after mailing in a copy of her mi’s Amy Domingues. Like Even Cowgirls Get The demo alongside a fan letter to Lyrically, Telescopic mostly of- Blues’ feet-finding heroine Cissy, Drag City luminary fers more of the same soul-search- Edith Frost has hitched a ride (aka Bonnie ‘Prince’ Billy), Frost’s ing of her previous releases, with with many a kind friend, travel- first release was a self-titled EP one notable exception. You Belong ling with them through a myriad fashioned out of those very same To No One is a cabaret revenge of musical landscapes. Ultimately four-tracks. It was followed in song, a sashaying “fuck you” that though, she has been at the helm 1997 by the album Calling Over runs rings around her lonesome of her own evolution and these Time, an unprepossessing gem of schtick and never fails to raise a timely reissues should plenty whet a record showcasing a voice not smile. Musically, Bluish Bells is the appetites of fans of Lisa Ger- much unlike a Patsy Cline for the further confirmation of Frost’s ear mano, Cat Power, Barbara Man- modern disaffected. In the wake for an ingratiating mindtrick. Amid ning, and, of course, Will Oldham of a painful divorce, Texan-born pleasingly retro jangly keyboard ef- before the next instalment comes Frost, then aged 31, relocated to fects and an inobtrusive fuzz gui- along. Alan Pedder

53 The country swagger of Don’t Kirsty MacColl Come The Cowboy With Me Son- From Croydon To ny Jim! is executed in typical Cuba: An Anthology MacCollian fashion, mixing laugh EMI. out loud lyrical flair with a seri- ous undertow, always ready to REISSUES «««« fall in love but never really ex- pecting it to work. The second disc is notable for the single Free World and her version of ’ Days, both lifted from her Steve Lillywhite-produced 1989 album, Kite. But it’s the captivat- ingly sad Dear John, co-written with Mark Nevin from Fairground Attraction, that really encapsu- lates MacColl’s unique gift for effortlessly balancing the personal with without a trace of cloying sentimentality. While Kirsty MacColl never commanded the kind of com- mercial respect that her music deserved, her fiercely loyal fans have always maintained that her songwriting never wavered in its splendidly literate quali- ties, flinching not at the Latin American rhythms that flavoured her later songs and critically-ac- claimed final album, Tropical Brainstorm (2000). From Croydon To Cuba is a magnificent and towering tribute to one of the warmest, funni- It’s safe to say that listening to all of whom have expressed an est and most skilful songwrit- this 3CD retrospective compila- immense love and respect for her ers these isles have produced in tion of Kirsty MacColl’s work was music and her inimitable spirit. the past twenty years. For those always going to be a bittersweet MacColl’s songs primarily dealt who prefer to digest an album in experience. Five years on from in the currency of romantic love, just one sitting, a slenderer sin- her premature death in a speed- but always from the perspective gle-disc collection, The Best Of boating accident in Mexico at the of a woman under no illusions. Kirsty MacColl, is also available, age of 41, it seems she is still rec- As everything here is chronologi- but for those with any more than ognised more for her duet with cally sequenced, From Croydon a passing interest should indulge The Pogues on the festive staple To Cuba goes some way to recon- themselves with this. Fairytale Of New York than for ciling the wide-eyed girlish war- Jane Gillow her own well-observed pop songs bler on her 1979 debut single, about chip shop romances and They Don’t Know, with the older cowardly lotharios. and wiser family woman of later This fairly exhaustive collec- years. And it doesn’t take long for tion sets about trying to rectify her talent to shine. Her 1984 cov- that sorry situation, serving up er of Billy Bragg’s superb A New 65 songs worth of concrete proof stands out for its brac- to fans and non-fans alike that ing honesty and freshness, but MacColl’s way with a tune was it’s the reassuring tone of that of a quality at least the equal of single’s original B-side, Patrick, her more successful peers (from a lovely little ditty about a young Eddi Reader and Alison Moyet to Cork-born fella finding his feet in Morrissey and Johnny Marr via London, that tugs insistently at and Billy Bragg), your heartstrings.

54 IMPORTS listener. But it’s also interest- Tagaq ing and incredibly atmospheric. Sinaa Much like Björk did on Medúlla, MapleMusic Tagaq recognises that instinct and emotion are the most powerful driv- «««½ ing forces in all of us, and she tries to explore the places inside us where these concepts reside. On Still, the only song in English, the lyrical theme is the inner workings of the human body. Elsewhere, Qimirulu- apik is a traditional throat song in which Tagaq performs the parts of both participants, sounding like a factory floor production line with her rhythmic growling and buzzing. The album centres around Ancestors, an atmospheric duet with Björk that also appeared on Medúlla. As Tagaq’s vocals undu- late and pulse, the raw emotion invested is clear. It’s a magical combination. Although Tagaq also attempts regular singing on three tracks, displaying a warm voice admirably soft and deep, the clos- est she gets to a pop song is on The traditional Inuit practice of perimental music scene before Breather, one of the only songs to throat singing, a form of vocalisa- being thrust out of obscurity when, feature noticeable programming. tion that uses the timbres of the in 2001, a keen-eared Björk pro- It’s an unexpected and glorious fi- windpipe to create unusual rhyth- claimed her to be “the Edith Piaf nale in which her vocals and the mic sounds, is often considered to of throat singing.” chimes of the txalaparta are cut be a whimsical pastime by those By personal invitation, Tagaq up into a rhythmic but organic who indulge. Not so for Tanya then accompanied Björk, experi- dance tune. A hidden track at the Tagaq Gillis, born in the Nunavut mental duo Matmos and harpist end seems to consist of her baby province of Canada, whose unique Zeena Parkins on a number of daughter Naia, to whom the al- abilities have been championed dates for the Icelandic singer’s 2001 bum is dedicated, crying softly in by the likes of the Kronos Quartet Vespertine world tour. They collab- the background. and Björk. While a typical throat orated again in 2004 where Tagaq Overall, while Sinaa conjures singing setup would involve two played a pivotal role on Medúlla. up feelings of longing and dreams women standing face-to-face, close These triumphs have led to her of other lands, it never quite stirs enough to feel one another’s vi- debut solo album, Sinaa, an In- the want to leave your home. In that brations and singing rhythms in uktituk word that translates to respect, for something so daring a kind of round, Tagaq was forced “edge”. It’s almost certainly unlike and original, it’s a safe, introverted to develop unprecedented meth- anything you will have ever heard way of exploring the broadness of ods of emulating these rhythms before, displaying Tagaq’s art in human capacity for emotion and as a soloist after moving away all its glory, range and intricacy. imagination. In a traditional game from Nunavut to study in Nova Few instruments appear on the of throat singing, the loser is she Scotia. With no partner to prac- album, the most commonly used who breaks the rhythms through tice with, she would spend hours being the txalaparta, a percussive either tiredness or laughter. As with attempting to cure homesick- instrument that often sounds like all no frills declarations of honesty ness by copying the throat sing- wooden wind chimes and has little and humanity, there will be scep- ing audio tapes her mother would musical structure. Indeed, most of tics who tire easily of such unem- send from home. While traditional the rhythms are created by Tagaq bellished purity, there may even practice dictates that throat sing- herself and sometimes seem in- be some who laugh, but those who ing should be completely emotion- human. Recalling by turns a wide enjoyed Medúlla or have a wider less, Tagaq’s modified rounds were range of sighs, growls, clicks, yelps, interest in as the ulti- propelled by instinct and feeling. whispers and yells, it’s harsh and mate instrument will find some- Her unique style subsequently guttural, and parts won’t even thing to admire here. heralded her arrival on the ex- sound like music to the casual Bryn Williams

55 56 IMPORTS ««« Ardent Music Choreography Lauren Hoffman dia set the wheels in motion for for motion in wheels In the to set dia trip of spontaneous a autumn 2002, the in degree versity UK. the in independently House Blue album, The five sophomore sen and sual respectable sparse her since fairly years a been has it case, Hoffman’s Lauren In long. for gone stay few reality, In records. their a of all over take disbe lievingly it to throw and wise salt of pinch often it’s ness, busi music the that quitting are they announces artist an When of the rockier numbers such as as such numbers rockier the of piano some lovely Although a bridge. in the part boasts and tone Stars The ballad slow-burning largely acoustic, the is suggestive melody. a Equally hummable along vocal shimmering cool ice Hoffmann’s un perfectly propels moody seductive, dercurrent a start; possessed. records those both that surprise of element the Choreography debut, 1997 House Blue between ground mid a dle cultivated Hoffman have to but seems all before, it’s done say to worn been not That’s slightly feel. a in has album the EP. sole Lilas’s The of track Sea the waltzing over including years, another two last or the form one in ed road-test thoroughly been have here songs of the many Lilas. Certainly, The her band, in rock stint hometown a via follow-up, the Broken that then surprise no It’s uni a of out dropping After , which was formerly the title title the formerly was which , Out Of The Sky, Into The The Into Sky, The Of Out , though it is warmer in in warmer is it though , makes for a promising promising a for makes and her exceptional exceptional her and

Megiddo perhaps lacks lacks perhaps , was released released was , From The The From , and so so and , From From As As ------first of a four-song suite that that suite four-song a of the first is and feel aggressive more a really to impress, bite necessary the lack Crush overt one. In this subtle series, series, subtle this In one. an not overt though of album, concept something a constitute reprise and ethereal. the with Gerrard, flirting Lisa ex-Dead Dancer, from Can baton the up ing since of Weeds The album material first new her soon. anything, time If any screens across TV your half-naked sashaying won’t be Carson Lori chanteuse die hours. it for tin, what the on says exactly do nagging the vocalisations Head where My Of example, Out for You Minogue’s Get Kylie Can’t Take tendril. like a you grip can that la la la sim ple a sometimes it’s lyrical, the on place we emphasis the all For ««« Meta The FinestThing Lori Carson taking her. you alongside worth be it well sidestep might diagonal a but forward then, leap the great a over Not all record. stamped are titude at salient and vocals tantalising – Hoffman’s remain constants ble of House Blue The cohesiveness the nor of freshness the neither conclusion. its melancholic towards palpably progresses song the as escalates which vocal, guorous lan yet lucid most Hoffman’s for second Darkness record’s half. the up shores Though Though These seven songs plus one one plus songs seven These in reclusive though, not Fear

and and Another Song About The The About Song Another is an ideal showcase showcase ideal an is Solipsist (2001) sees her pick her sees (2001) iig n li Sight Plain In Hiding Choreography Alan Pedder Alan , many favoura many , benefits from from benefits House In In House Megiddo has has From From ------

tion of how rare and fleeting are are realisa fleeting and rare aching how of tion swooning, a is track title The guitar. acoustic by anchored songs of wisps delicate are Both trade. in been stock has Carson’s that melodiousness singer-songwriter ly confessional Sun The To On Hold good a have handy. book to want might you whisperings, air as light syllabic, mono of passages prolonged ing seven- contain many and the mark minute overrunning the of tracks five with However, se renity. of degree a bequeaths in return but patience takes meditation, album this like has much – she point and “meditations” a songs as than them rather to re fers herself Carson dreamscapes sadness. and all accompanying with concept its the is itself life Alan Pedder Alan spiritual the hope. of – salve of theme expansion same the grounded more a contentment. Similarly, sheer of moments imc euy f t l i some is treasure. to all easy it that’s thing of the beauty however, filmic By patience, tedium. of its virtue without not Carson, is Lori it for wel diversion and come adventurous sonically factor. pre limiting While most most and record’s cious that is quality insular this album, it’s the and of to context the listened of out when intact survive the in desire. so you float should to safety slipstream free and You’re rib-crushing bar. clouds no through there’s arcs this their only one to ride, rollercoaster listener first the successfully regresses Carson fair, the fun the of all conjure quite doesn’t sweetness to compelling certain a there’s wish Elsewhere, on. you go could and it it like feel doesn’t that Tell track long one the it’s ingly, instrumentation. vo almost skeletal soft sparse, very around vulnerable cals her wraps Only Only The standout piece, piece, standout The Sadly, none of these songs songs these of none Sadly, oe Iln Ride Island Coney h Fns Thing Finest The h Fns Thing Finest The Hold On To The Sun The To On Hold approach the the approach . While it it While . Glimmer s a is and and is is ------, IMPORTS Other highlights include the ti- with a few new tracks thrown in. tle track and FAQ, which Ember Coming in an attractive two-piece describes as “a reggae-driven pop case, the Collector’s Signature quiz”. It’s the perfect Q&A session Edition contains 17 slices of Duff- song to get to know the girl behind ness, of which just four are new. the music. The remainder are remixes of To dismiss Disarming as dis- songs from previous albums, al- Ember Swift jointed and lacking concept would though a collaboration with sister Disarming be a rash decision and one that Haylie on The Go-Go’s classic Our Few’ll Ignite Sound misses the purpose of her song- Lips Are Sealed is carried off with writing as truthful expression and dignity, showing that it is possible «««« storytelling. It is immediate, un- to cover a well-known song with- calculated on a corporate level, full out leaving the original artists of passion and revels in revealing turning in their graves (or, in this The dark heavy boot and brightly her truth. As the title track accen- case, mansions). striped sock featured on the sleeve tuates, “I think it’s sad if you find Hilary’s move into more soulful offer only a suggestive shade of me alarmingly disarming, and I and lyrically complete tunes in her the intensely gritty grass roots, look for those who align, and who second album is less apparent in independent musical and ener- find the honesty charming.” this latest offering, which walks getic thrust of Ontario native Em- When Breath draws to a close the line between rock and pop. US ber Swift and her band. On this, and the album stops spinning, the radio programmers have swooped her eighth release since 1996, the listener may reflectively appreci- upon first single Wake Up, which trio proudly parade their musi- ate the slightly funkier feel to this flaunts a killer hook and is one cal dexterity. Charging through release compared with previous of her best to date. However, the a musical mélange of jazz, punk, discs, and if time allows, they may standout track is the super slick feisty blues, folk-rock, pop and also reach over and press repeat Break My Heart, which borders on Middle Eastern tunes, they care- to absorb more of the plentiful lyr- a Blink 182-esque anthem pitched fully weave together rich acoustic ics and audacious grooves. Swift around a superb middle eight. guitar with layers of bass, drums, will have made them smile in mu- This comes as no real surprise, electric violin and harmonies. sical bliss for long enough to open as song was co-written with the Some may sense a little too much their mouth and poured in little Madden Brothers from pop/punk activity on a musical level, leaving truths of the world outside their band Good Charlotte and John a wake of disjointed tracks in its headphones. Helen Griffiths Feldmann from Goldfinger. Club ambitious path. However, do not DJ Chris Cox does a good job of be turned off by how different Em- turning the previously likeable ber sounds. Beyond the unusual Come Clean into an irresistible mish-mash of songs and wander- floor-shaking house mix, building ing vocal style lies a lyrical truth, up from the simple melody of the a beautiful voice and forceful mav- original with big beats and deliver- erick passion. Released on her ing the goods. own indie label, Disarming leaves Perhaps more than simply a the listener in no doubt that Swift greatest hits, this album is a show- is freely and happily “independent Hilary Duff case of some of the more unique by identity not by default.” Most Wanted songs from her repertoire, such as Opening with Tapped & Wired, Hollywood the raucous Mr James Dean, from Ember swiftly welcomes and ener- 2003’s self-titled second album. getically lures the listener into her «««½ Duff certainly has a unique voice, consciously aware and politically clearly identifiable amongst the of- active world. A poignant commen- In the sometimes scary land of teen ten faceless pop crowd. So Yester- tary, the song champions the en- pop there is a boxing ring, with day, the signature track from her lightenment of the masses, unre- Hilary Duff in the red corner and debut, Metamorphosis (2002), servedly noting the dodgy dealings Lindsay Lohan in the blue. Whilst makes a welcome return. Although and twisted priorities of politicians. not quite delivering a knock-out perhaps more polished than even It is a positively intelligent kick- punch with this release, Hilary at the crown jewels, it’s pure pop start to a unique musical journey, least shows that she has the edge perfection. The standard edition of treading a path through political and will stay standing for quite a the album, running at a more bite- and personal ideology. You’ll want few more rounds. The cliché of the sized thirteen songs is an attrac- to join in. You’ll want to believe in difficult third album is not easy to tive option for Duff’s doubting tho- these tunes with their soaring jazz apply to Most Wanted, as it more mases or newcomers to her music. vocals and sweetly soft sounds. closely resembles a greatest hits Simon Wilson

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MUSIC DVD 59

------, a vis , we are Desired Constellation Althoughit’shuge fun, worstat In The Collective has worked with anti-diva farmyard queen. the video seems inarticulate am-dram. and But still, it serves as a suitably surreal representation of its manic and sonically inspiration. sporadic More than anything,this video is a small weird window into the mind of director and vis ual artist Gabriella Fridriksdottír Bjork numerous times in the past, vid the for responsible also are and eo for ual and quite literal representation of Björk’s lyrical conceit of some one’s hands shaking up the stars. Although aesthetically similar, this film is subtler and, quiterefresh ingly, does not feature Björk. ushered into a where hay-strewn Björk plays a bounding and barn bulbousstraw-sack cartoon chick en. Wobbling around nest, she raises her her beanbag body warm to give birth to a shivering white- skinned, yellow-eyed on exit alien from her cheesecloth skirt that vomits chunky womb gasps at the fluiddusty air, accentuat and ing the song’s accelerating shrieks and drones. Straw heaps explode andsmoketimewarpingin to war head pulses, until the white baby retreats and the straw walls take shape to close in on our delirious sea-seed’s underwater tion germina and the its upwardstalk from the growthwatery black to of the orange glowing air above. We see nature bursting from the wa ter through the air in a ouslysumptu choreographed display, pro viding a fitting metaphorsong’s for salute the to the story of as man child and ocean as his Althoughorigin. breathtaking and gral, inte the Collective’s seems use of unreal CGI tangible and fleshy lacking It life seems the of almost too still the gives perfect, sea. its yet depiction a of nature satisfying chaos effect and natural of choreography. organizedThroughout the “dance gracefully, film, billowingballroom dresses” jellyfishand like give grace ful and endearingbacking of The London Choir. form to the . ------Medúlla , Björk sings as Moth as sings Björk , Oceania The Lynn Fox Collective is In known for impressive their use of generous computer-generated and imagery and exception. here The is video no depicts a however, the film doesto not do seem justice to tive role, failing to depict the power Björk’s imagina and eloquence of her as a physical embodiment of her chosen oceanic deity. This sentiment was realised at better the 2004 Olympics Athens, where she commanded the in huge opening ceremony wearing a gigantic sea of blue that billowed and opened out toward the crowd. self in what seems to be an ancient an be to seems what in self poem on the evolution of man. The Lynn Fox Collective’s visual depic shows tribute humbling this of tion us the ocean’s plac in and graceful, is It dark, glamour. mysterious es divine. From the black and depths, spinning view, into glides Björk smouldering in silky threads. She wears a perfectly formed facemask of precious-esque diamond gems as gorgeous close-ups cast out the deep aquatic whispers of her song; nally collapsing as if her clockwork cogs have turned to a stop at the final toll of the bell choir.an as body her using literally Björk This is instrument. This is but one of her many video selves. Bjork self-char acterizes and allows video directors to character uncompromisingly ize her. She’s been a polar bear, a robot twin, a ghost in the machine and more. er Ocean, giving voice to the sea it Hjörleifshöföi, a hill on the southern southern the on hill a Hjörleifshöföi, Icelandic coast. We see her peering out of an eccentric Alexander Mc Queen dress, tubular and with sil tiny in covered neck trunk wide a ver bells, weighing in at a hefty 50 kilos. In this simple and sonically separate place, Björk responds di rectly to the conceptual dress. Ap pearing animated, she plucks and flicks at her percussiveShe garment. beats across the dark herself wide landscape, fi voluminously truly truly physical being Video of director Dawn treatment Shadforth’s places the singer in the surreal and awesome of the barren black sands landscape beneath ------as

was Who Is It Medúlla (2001), which she which (2001), is Latin for ‘mar is more than that; « Medúlla Medúlla lla Videos Vespertine ú Although written at the same But Rahzel of The Roots, the song cre the into deep running bridge a ates not very physical a record.” turing Fea the extraordinary and ‘un treated’ vocals of human beat-box the songs found on her previous al previous her on found songs the bum, and shy and “introvert as describes aware of my muscles and bones.” time, Björk refers to being “from a different family” to influence wasduring Isadora, Björk’s daughter, their with pregnancy which she says she became “really working as a medic, model, athlete and physical performance artist in his video art works. Another major teur Matthew Barney. Barney him self has had a life-long heightened awareness of the body, previously possible explanation for this preoc cupation with the physical lies in her relationship with art provoca Björk is depicting not just the di as body the but voice, the of versity a whole being, organ and spirit. A ing, grunting, groaning, yawning,whispering, snoring,whining, and hyperventilation. were simply pieces in an ambitiousansimplywerepieces in sonic game. As well as Björk’s un earthly singing, we heard breath work – nature (specifically ofsuper kind) the and the human voice. Within its inner sanctum, sounds dare. From the album’s wards ( title in row’), Björk was playing on two fa miliar and favourite themes in her a chance for the artist to indulge and experiment further than most other ‘mainstream’ acts would Though already widely as regarded a fearless musicalBjörk’s 2004 innovator, album One Little Indian/Wellhart ««« Björk Med MUSIC DVD photo by Ohashi Jin

who previously provided artwork from this slapstick rom-com be- pernatural illogic, Jonze’s video for Björk’s 2002 Greatest Hits ginning, Björk gets roaringly in- illuminates the humour of both and Family Tree compilations. ebriated before returning home to parties, and reminds us that she This outlandish promo is an exam- her cat-man bruised and disgrun- is, after all, only human. After the ple of the singer’s generous ability tled, but ready to reconcile and rich and sometimes disturbing to give the artists she works with dance a feline sphinx-trot in the visual textures of what has gone a chance to express their own vi- film’s finale. before, Jonze brings the viewer sion without compromise. That If one were to take Björk too home to Iceland, intimately in- Fridriksdottír truthfully repre- seriously, she could seem self-in- cluding us in a jolly drunken art- sents Björk’s preoccupation with dulgent, incoherent and perhaps bar party scene with Björk in the the body, visceral and maternal, downright daft. But I believe she is middle of the action. as well as the playful and surreal, a dedicated and serious artist. As Ultimately, whatever else it is is testament that their collabora- with her music, if you care to probe also concerned with, this video tive relationship was genuine and deeper into the products of her art helps us to realise the album as a true to form. and the various influences that whole. It is physical and personal, While each of these videos is in- have been unified within, you be- but also uniquely political. It was, terestingly unorthodox, they have gin to realise that what she creates, she says, a way to counter “stupid a mutual concern with the body both singularly and collaboratively, American racism and patriotism” as instrument or . Although is part of a big, fast, bright and bril- after 9/11. “I was saying, ‘What Triumph Of A Heart has a similar liant way of life. about the human soul? What hap- theme, extolling on the heart as The same is true of Jonze’s vid- pened before we got involved in “the king of the body”, the promo eo, as proved in a spoof “making problematic things like civilization proves much simpler. Though of” documentary by Ragnheidur and religion and nationality?’” the vivid imagery of the concept Gestsdottír. In this, we are con- In the wake of recent natural dis- seems a fascinating subject for a stantly unaware of what is serious asters, these questions loom ever pop song and its accompanying and what is not. Tales are told of more importantly. All issues aside, , director Spike Jonze personal connections with Björk however, these videos are simply a unfortunately explores little of and the video’s location and props. dream to watch. That the DVD clos- that potential; however, this video We hear of the video’s quirky fairy- es with the spoof documentary is a is a genuinely cute and comical tale inspiration and scores of local warm waking into a party of all of story, with occasional fun effects Icelanders audition to be involved. Medúlla’s colourful collaborators, and wry fly on the wall footage. Where the other videos in this of Björk’s dreams and of Iceland It poses as an everyday tale of a diverse collection portray Björk as itself. A party where everyone can woman and her commitment pho- an array of otherworldly charac- be as wild and wonderful as they bic lover, played by a tabby cat ters, allowing her to manifest in like and all are invited. named Nietzsche. After escaping herself a vision of fascinating su- JJ Stevens

60 MUSIC DVD MUSIC

Cat Power Speaking For Trees Matador «« photo by Stefano Giovannini

As anyone who has endured the fifteen feet away from the camera Fortunately, it’s not all a big wretched soulwreck that is seem- for the entire feature, her face ei- letdown as Marshall also includes ingly every other Cat Power live ther blurry or hidden behind her a CD with the package contain- date will tell you, to witness Chan trademark hair. ing a single 18-minute epic, Wil- Marshall’s shambolic disassembly At first this seems like a wonder- lie Deadwilder, which features the of self on stage is to feel like you are fully apt way in which to capture the aforementioned M. Ward on guitar. spying on a very private decline. reluctant indie heroine, alone with Giving anything as conventional It’s intensely uncomfortable and her guitar in the woods. Then, as as a chorus or bridge the widest you wonder how soon the white- she strums and mumbles her way of berths, she weaves a charm- coats will come and lift the shud- through nearly thirty songs, several ing rambling tale based around a dering, incoherent thirtysomething of which are simply alternate takes rather naïve melody and easily gets from her lonely little stool. Not that of the same tunes – Night Time/Back away with it. It’s an indulgence for she is incapable of performing so Of Your Head, From Fur City and sure, but anyone who enjoyed You publicly – her 2003 set at Isling- Knockin’ On Heaven’s Door appear Are Free will find moments of tran- ton’s Union Chapel was by all ac- no less than three times each – the scendence in the song which was counts mesmeric. Thus, providing gritting of teeth inevitably sets in. In taken from the same sessions. she was having a good day, a live fact, the greatest variation for our Sadly, this is perhaps as close to DVD seemed an ideal compromise, viewing pleasure is when the film- a coherent Chan Marshall live per- yet Speaking For Trees manages maker Mark Borthwick overexposes formance as most are ever likely to to be as maddening and restless as the image and gives a moment’s witness. Those lucky enough to see Marshall is in the flesh. white respite. her sing sans meltdown will contin- Set in a noisy, chattering wood- There are nine covers in all, the ue to regale us with stories of how land clearing and filmed in an in- best of which is Marshall’s version amazing she can be and we who terminably dull single shot, sup- of M. Ward’s Sad, Sad Song which miss it will continue to believe in posedly in homage to the probably appears a generous twice. When this elusive confident character. Of equally excruciating art films by not drowned out by crickets rub- course, there will be those who say Andy Warhol et al., the 100-minute bing their legs or birds singing as that appreciating music shouldn’t long main feature could, much like though their lives depended upon be this hard and they’ll certainly Vogon poetry, extract a confes- it, Chan’s voice is as exultantly mo- have a valid point. Whatever your sion from even the most hardline rose and beautiful as ever, partic- slant on the matter, the music in- criminal. Either that or put them ularly on some of her more recent dustry would be a lot worse off to sleep. Shot on digital video rath- songs such as Evolution and I Don’t without mercurial icons like Chan er than film, a barely distinguish- Blame You from the album You Are and this blip just comes with the able Chan Marshall stands at least Free (2003). territory. Alan Pedder

61 62 MUSIC DVD and n sitd tg ban stage stilted and Mann’s pained witnessing but showing, sense. emotional an in but thin), little a are vocals reedy and warm normally her (although vocally necessarily not time, the first experience the dis from acutely engaged so seemed she just it’s that bad, Not way any in Warehouse. it’s that Ann’s Brook St. at lyn’s summer’s residency last three-night of frills document no down live resolutely this sitting watch to ever Mann Aimee imagine to hard it’s nit Virgo”, picky “classic, self-confessed a As ««« SuperEgo Live AtSt.Ann’sWarehouse Aimee Mann Maybe it’s just my Britishness Britishness my just it’s Maybe

- - - -

little towards the end. the towards little a thaws she environment, to live the setting interview the from late trans quite doesn’t humour facing self-ef her of although and enjoyment touring, her for is known Mann not all, After unkind. being I’m perhaps But election. Florida a say, as, genuine as seem guys” you love fucking “I many her but inadvertently, times match other boxing at and a in could Dylan” she “take claims she when ous hilari She’s robotic. and deadpan wry, so between distinguish to cheeks difficult it’s delivery own her With my flush. made even ter - - -

n i o prucoies surrou- perfunctoriness of air an Jailhouse. The Of the to King album under its title, working referring when loop the out of more even seems thus Mann after week a released Inexplicably shores. our reach officially to release set the US for date the from months six wait to had hadn’t UK the in we if preview a been have would it least Arm Forgotten The treats from songs two Mann of preview a to but us that, Magnolia. only Not film 1999 Anderson’s Thomas Paul to soundtrack ising her revital the career plus full-lengths of all spanning talent, her to testament a is DVD 16-track this ac and be substance over style never of cused could Mann so, or decade last the of artists essential long for it. so it. for long wait to had we pity a it’s Still, pretty artist. is stellar a from fare this standard all, in All pointed. disap be likely most will band dynamic the into insight real for ing look anyone interviews, backstage the at stab enough decent a have Are of formance per inessential rather but bonus a features CD the norm, the with break a in although CD, panying accom the the from on excised are songs DVD the of four leases, latter. the on piano the at Aimee see to nice it’s although little of merit to the studio versions, and takes of Arm film. the of moment pivotal mournful the does it as ing Magnolia is though all Shot Long excellent the on ship musician fantastic some off pull Coryell Julian guitarist fellow and her Mann both said, That counter parts. studio their the from distinguish songs to attempt no little or with affair, whole the nding So what of the music? There’s There’s music? the of what So consistently most the of One Although Aimee and the band band the and Aimee Although re these for customary is As heard Having not on the DVD. DVD. the on not , it’s safe to say that the live live the that say to safe it’s , ig f h Jailhouse The Of King Going Through Going The Through Motions ontak represent soundtrack, and and Alan Pedder That’s Just What You You What Just That’s The Forgotten Arm Forgotten The ie Up Wise Deathly The Forgotten Forgotten The (2005). Or at at Or (2005). Pavlov’s Bell Pavlov’s from the the from . Best of of Best . add add ------, ,

MUSIC DVD MUSIC

Natalie Merchant VH1 Storytellers Rhino Home Video «««

Since its inception in February the age of 17 in US college rock the precipice of blandness. In an- 1996, VH1’s Storytellers format band 10,000 Maniacs, she had other’s hands, her explanation of has given us insight into the inspi- well over a decade of experience, how an abused child inspired her rations behind the songs of some and presumably stories, behind to write What’s The Matter Here? of the most enigmatic and elliptical her. This performance, recorded may have seemed trite but her performers of our time, including the same year as she released her plainly visible emotional involve- Tori Amos, REM, Tom Waits and second and arguably best solo al- ment is touching. . More often than not, bum, Ophelia (1998), is a reso- Special guest N’Dea Davenport however, it was the refuge of tired lutely no frills affair – there’s no adds a welcome change of pace and crashing MOR bores mounting elaborate set design and Merchant for the blue collar worker anthem their nth attempted comeback. The herself is understatedly dressed Break Your Heart. Of the bonus show was also symptomatic of US for the occasion. Her instantly rec- tracks, Life Is Sweet (presumably programmers’ attitudes to female ognisable warm and reedy vocals, not included on the original broad- artists; even though its most suc- however, rise easily to the chal- cast because of a minor sweat cessful years coincided with the Li- lenge as she tackles these eight problem) is given a new lease of life lith Fair phenomenon, less than a songs of sadness, gratitude, stoi- by Merchant’s explanation that her quarter of its 56 episodes featured cism and wonderment spanning objective was to reclaim the cliché women performers. Tellingly, the her extensive back catalogue. and thereby allows the viewer to only such act to appear following Given that so many of her songs listen with renewed perspective. the demise of Lilith in 1999 was are self-contained observational Though the DVD is only brief at ’s No Doubt. After a narratives that hardly lend them- 43 minutes, as a precursor to Rhi- series of mostly inessential per- selves to in-depth analysis, it’s no’s forthcoming Natalie Merchant formances by the likes of Billy Idol, a little worrying when Merchant retrospective hits album, it serves Bon Jovi, Matchbox Twenty and seeks to reassure the audience “I as an adequate reminder of her Train, among others, the chapter didn’t have to tell you anything talents. In the absence of any new finally closed on Storytellers in deep and dark and scary about material to follow-up 2003’s The June 2002. myself” after the opener These House Carpenter’s Daughter and It could easily be argued that Are Days, which we’re informed is the scarcity of high-quality record- Natalie Merchant’s place in the simply about the springtime. For- ings of Merchant’s live show, fans Storytellers canon would have tunately, her romantic and hu- will be satisfied with this solid, if been warranted regardless of the manitarian interests rescue some unspectacular, addition to her dis- Lilith influence. A performer since of the other commentaries from cography. Alan Pedder

63 photo by Brie Childers

Tori Amos & Ann Powers Piece By Piece Plexus Publishing BOOKS «««««

Released in the US just prior to a verbal collage of various conver- carry a child that finally ended in her eighth studio album, The Bee- sations (including contributions 2000 with the birth of her daughter keeper (2005), this fascinatingly from Amos’ husband, friends, tour- Natashya Lorién, is guaranteed to unconventional semi-autobiogra- ing bandmates, chef and security hit a nerve. Her disarmingly frank phy did what few Tori Amos releas- guard among others) that are woven account of each of her three mis- es since (1994) through eight hefty chapters. carriages is both harrowing and have been able – it failed to split Each chapter is overseen by an brave. Equally engaging is her tale of the critics. It even made the New archetype of mythological or reli- how these health problems contrib- York Times Bestseller List. Hav- gious legend, including Amos’ con- uted to the souring of her relation- ing finally found a publisher in the stant inspiration and “erotic muse”, ship with . That, UK, where her fanbase is slenderer Mary Magdelene. Amos has been and a brazen publicity scam on yet unremittingly fervent, Piece By trying to reunite the spiritual and their part, were the final straw for Piece at last hits the bookshelves the sexual aspects of womanhood Amos who told them where to stick in June in support of the European since her debut album Little it. Unfortunately, she still had three leg of her Original Sinsuality Tour. Earthquakes (1992) tore down albums to turn in to fulfil the terms Regardless of whether you have gender barriers and kicked open of her contract, albums which At- an appreciation for Tori Amos the the floodgates for similarly confes- lantic were determined not to pro- performer, Tori Amos as author sional songwriting. Years before The mote in order to effectively ruin brings to the fore her enviable in- DaVinci Code popularised the her career, an effort in which they telligence, quick wit and literate, gnostic gospel of Mary Magdelene, clearly failed. piercing insight and as such com- Amos has given voice to the much The interplay between Amos and mands respect even from those maligned biblical figure, but never Powers helps to keep the notori- who would give it begrudgingly. Co- more so than in Marys Of The Sea, ously wordy songwriter on track, written with renowned New York one of the standout songs from The although some passages are a lit- music journalist Ann Powers this Beekeeper. This song and many tle hard going. If you can forgive is no mere memoir, for Amos has others are discussed and abstracted Amos her small indulgences, there always had a keen eye for a con- upon in ‘song canvasses’ scattered is much to be enjoyed here, even cept – her last few albums have throughout the book. for those with just a passing inter- come with buckets of convolutions. The motherhood chapter (over- est. It is an utterly unprecendented With a nonlinear narrative to match seen by Demeter, the Greek goddess opportunity to look so far into the the most ambitious writers of fic- of harvest and fertility), which tells mind of one of the most enigmatic tion, Amos and Powers construct of Amos’ long battle to successfully artists of our time. Alan Pedder

64 BOOKS 65

- - - - in 1969. By then, despite AsFiegel notes, however, Elliot people’s princess wasin training beforebras. In her intro Diana duction, Fiegel tells David how Crosby rocker offeredif she could her find $100a singlewho hatedperson Cass. Unsurprisingly, his money went unclaimed. Alan Pedder Lemonade & Mama Something having For a young daughterVanessa Elliot (Owen was born in1969 and Aprilcontributes to the book in places), Cass had a significant drug habit and number wentdamagingof relationships through a withassorted lotharios and down rightspongers. Eventheat time of her death, she was engaged one-sidedin relationshipa with shady promoter George mysteruously Caldwell disappeared who her death. after wouldn’t have stood for the “trag ic” tag so manyher with. have Her lumberedindependence resilience and defied such lazy think ing. Rarely so has a completely mould the one beenfrom shatteredwhich EllenCohen Naomi emerged than – she was the ------Bubblegum, Dream A Little , followed a year Where the book becomes un Ellen Naomi Cohen, better Dream Of Me later, and a second, ly folded in October 1967. Elliot’s first solo album, balanced account of a well-lovedand unique individual. missable is in Fiegel’s account of thefinal days The of Mamas The & Papas. As adultery and unrequit lovetorethemedapart before they had even recorded album,Elliot’s theirlong struggle toex second tricateherself from thesorry mess without losing all she had worked for is all too vivid. The band final her audacious attempts to breakinto the group that would become The Mamas & TheFiegel carefully Papas, picks apart Eddi Cass’ famed ambition from her genuine need to be loved.ness for her subject, Fiegel’swhile clearly fond apparent in every tale,rably is never admi allowed bias the to story. Written cloud over near or ly four years and based onthan more100 interviews, what we get here is a mostly sympathetic but timore during World Wartalking II by and the ageteenager, ofCass was two,as intelligent as and a politically-aware as many the of adults who surroundedBeing fat her.by the age of seven had done nothing to those her endear own age her andjection to hauntedtheir Cassre right to her grave, despite all thaton she to went achieve. faltering From efforts her initial tofamous fat girl” become she so desired “the to ignobly rumoured by choking a on ham sandwich, but fromsive coronarymas heart failure as she slept, having the earlier final completed show cessful in run a of solo wildly performancesat suc the London Palladium. As this tender account of her life reveals, the dichotomy charismatic between outwardity and her internal Cass’ struggle personal with her own self-image from was a evident young age. Born in Bal ly and drunk, she died at just 32 years of age. knownas“Mama” Cass Elliot also died aged 32. Not as has been so ------

The explosion of teen girl pop overweight, among other Ninethings.years later, depressed, lone Ballardof The Supremes was one such example, allegedlyfrom the band sacked in 1967 for being immense. Then, as now, aextra bit of baggage could reer senddown athe dumper. ca Florence ington, for example,pill wasaddict a – the diet addedofTVappearances pressureandthe dread ed extra projected pounds was distinctly uncurvy. Althougheting diwas already rife maleamong performersfe – Dinah Wash sex appeal. Crystals, The The Shirelles, Ronettes and theirlike The were all youthful, fresh and singers that ushered in adethe decput the focus motersof firmlymany on theirpro protégées’ epoch surely swung, there is also room to reflect on a lesser-known angle – the Slimming Sixties. compounded the fears and curitiesinse of generations of women. Indeed, while the flower power neverhad or no longer has an im pact. Since its arrival in 1950s,the late the medium has majorly have always had it not hard. to That’s say to that some extent, television heat. (and magazine) quite make Eve’s behind look big init, the point is that people, and especially women, of a larger size of inventor Logie Baird when‘Televisor’ his colonised with ing alarm speed much race. of Even the if human the fig leaf didn’t fascism did not birth beginof heat. withmagazine in theNor did1999. it spring from the bowels Contrary to popular belief, body «««« Of Me: The Life Of Of Me: The Life Elliot ‘Mama’ Cass Sidgwick & Jackson Eddi Fiegel Dream Dream A Little 66 LIVE nvtby nofral listening uncomfortable inevitably it’s Day, Father’s is tomorrow that Given dad. his with reunited be to fatherdesiretheandchildthe feels boy’syoung a ofloss the courseon Horses album debut near-sacred her from of rendition powerful and to the stage for an utterly engrossing PattiSmith and her band then take charming pastorally Blake’s read to shadows the of out steps Richardson Miranda actress the big screen, the onstage goes dark until plays boy dancing lunatic few tokenmalesandYokoOno. a plus performers, female greatest world’s the of some of together ing brilliant. A once-in-a-lifetime bring deliriously it’s fact, In stellar. less no is cast Tonight’s herself. Smith Patti and Wyatt Robert Beck, Jeff turing the likes of Joanna Newsom, fea Hendrix, Jimi of work the with tie-in neat a during 26th June on inspiration tonight’s andthe second will close the is festival which of first the volumes, two in published originally was book The perience. Ex & Innocence Of Songs classic, Century 18th late his with ticular par andin Blake, William poet of works the with affair of love extension Smith’s an is evening the of theme the specifically, More dren. raison d’être, the innocence of chil tonight’s and experience erature, lit class, working the art, politics, drawing together the themes of war, production, many-layered typically curator in2002). as stint Bowie’s David (e.g. love-in all-male macho disappointingly or effort) 2004 Morrissey’s la (à nies cro with shindig cum excavation mere no is festival year’s this that personally it to seen has poetess, Patti evening. high judicious the most punk’s Smith, of theme the into snugly fits empathy such ily, Luck lobsters. for sorry feel I den, sud a of All to boil. blood enough the make is Hall Festival Royal the of rear liking; the at my temperature too the for literal little the a to close lingering is Festival Meltdown 2005 the of instalment tonight’s already and 7:30pm It’s After a comedic short film of a of film short comedic a After a for opted has she Instead, 17) Te og s dis a is song The (1975). h Lamb The Birdland ------.

and then another with her daughter MC5, of Smith “Sonic” Fred band, hus late her by Jackson son her forwritten dittydrippy but sweet a singreturnslaterPattisome. tofor herself would beproudof. Eliza that song folk pretty simple a with us indulging in Richardson Miranda join doesn’t she although Swinton, Tilda spooky and hushed a of courtesy come Blake of works Hero Beatles’ The of tion rendi Mari boisterous and Faithfull’s anne songs folk cappella a enriching Carthy’s Eliza are lights high Other child. a as with sleep to her lulled father her that spair de and death about songs ditional tra performing subplot, night-time ode tononocturia. on take ous hilari night, followingBillyBragg’s the of song Guthrie second the fact Down Woody Guthrie’s Dolphins Neill’s Fred of cover thanks. a is all of Best of yelp overexcited some a what with each ends she and cosies up to the songs voice reedy sweet her factor –ment like old friends, endear the with better faresOrton really argue with a standing ovation. can’t you though opportunity, lost ofsmacks showthe purposeof the acknowledge even or banter stage on- with crowd the engagedoesn’t is so proud to finally be one, that she struggled so hard to be a mother and Beekeeper The take stirringon a fact in is finest moment her albums, heavily earlier her drawing on set four-song In a lacking. is is, factor performance empathy the her exas As emplary endearing. as were Amos Tori only If so. rightly and forever banished is stateswoman elder len sul and artist tortured as Smith down festival mascot. Melt unofficial the becoming fast who’strust”can you man“clay the Gumby, green little toy, childhood favouriteherintroducetoto out us Jesseon piano. She also takes time The notoriouslyThe self-effacing Beth of notion the moment, that In rsi Hrh ae etns the extends later Hersh Kristin ohr Revolution Mother . Additional readings from the from readings Additional . is an unexpected joy. It is in is It joy. unexpected an is , but a fine version of version fine a but , r Bed Dry . For someone who someone For . Don’t You Push Me Working Class Working rm 2005’s from a charming a , ------

e ot f suo. hn there’s Then stupor. a of out her (1992) coversalbumseemstoraise bons devoid of emotion. Only is set her impassioned famously so someone for but inaudible, but all plucking acoustic rudimentary her render which problems sound the edly so.Granted,sheisn’taidedby unexciting, thoughmoreunexpect one with such a glorious premise. for dull surprisingly is hood, child own Blake’s of imagining an on based song a contribution, sole whoseLlamas, High The of said be ry sense of “so what?”. The same can former band’s biggest hit, with of a sor version acoustic an for past the plundering before awfully trite song about child abuse an performs James stalwartsindie however.Boothnow-defunctTimof Alan Pedder arithmetic,far…”you’llprobably yourgo and you marigold, the uring singing “Inchworm, inchworm meas backinto themuggy London streets spills audience exhilarated mostly beautiful indefinably uplift ensues before the of tired, hot but moment A right. harmonies the get finally evening the of cast entire the start faltering a after and choice, cute a is Christianbiopic, AndersenHans verse.song,The unds beneath Patti’s pulsing Blakean ro- sing bizarre attempt to finale, a nonearched higher thanduring the eyebrows,fewbut raiseaanteed to get it. didn’t just I Maybe before. seconds just sniggering were people same The applause. of round rapturous lief when Ono departs to a bizarrely in redeeming features that it’s a re lacking so is performance the fact, In sauna. this in breathing still all to contemplate how on Earth we are time much too far allowing thereby ence. It actually seems audi like an anybody’s hour, of mettle the test tuition” for ten solid minutes would in your trust heart, your “Follow Screeching unlovable. utterly so is ‘music’ in woman old 72-year rided a timely reminder why the most de providing hat, giant a in Ono, Yoko Sinéad O’Connor, too, is equally is too, O’Connor, Sinéad successful, as quite all not It’s Such a disparate line-up was guar from her from Am I Not Your Girl Your Not I Am Inchworm i Down Sit Scarlet Rib fromthe his , ------

Songs Of Innocence Royal Festival Hall June 18th, 2005 ««««

Miranda Richardson Auguries Of Innocence (poem) Patti Smith Birdland Billy Bragg Dry Bed Eliza Carthy Young But Daily Growing Beth Orton Someone’s Daughter Don’t You Push Me Tilda Swinton Nurse’s Song (poem) Tori Amos Mother Revolution Winter Tilda Swinton The Lamb (poem) The Tyger (poem) Yoko Ono Rising Tim Booth Lullaby Sit Down Eliza Carthy The Grey Cock Patti Smith The Jackson Song The Little Black Boy (poem) God Bless The Child Working Class Hero The High Llamas Peckham Rye Beth Orton Dolphins Kristin Hersh Down In The Willow Garden Banks Of The The Cuckoo Sinead O’Connor Scarlet Ribbons Days Without Number I Long For You Daughters Of Jerusalem Miranda Richardson The Bitter Withy Patti Smith I Heard You Crying In Your Sleep Patti & Jesse Smith Cradle Song Entire Cast Inchworm photos by Ben Hall

Patty Griffin Sons & Daughters Lyric Hammersmith The Repulsion Box Domino LIVE May 31st, 2005 «««« «««««

As any singer worth their salt other cut from the “new” album, should know, a whisper can be charms effortlessly with its poign- every bit as effective as a scream. ant imagery of dreaming and hold- In Patty Griffin, a woman who em- ing out for fulfilment. bodies the former but has the fire New song Free sounds promis- of the latter, the full range of ca- ing but the real highlight comes pability is ours for the absorbing. next with Top Of The World, a Disarmingly shy at first, she seems beautiful and heartbreaking pae- almost embarrassed to have both- an to those once loved and lost. ered us from whatever our Tues- The upbeat but lyrically desolate days typically bring, but the ice is Long Ride Home follows before soon broken after the first song, Griffin really lets her hair down a stirring take on Bessie Smith’s and unleashes a surging version Backwater Blues, when she real- of the frantic . ises that her guitar was unplugged Unfortunately, a residual cough for the entire rendition. To the left over from a recent cold begins credit of the Lyric theatre’s acous- to trouble the singer in the clos- tics, however, the difference is ing songs of the main set. In fact, barely noticeable. her confidence is visibly shaken After a stomping No Bad News, by wracked renditions of Icicles she offers up an engaging suite and Making Pies, two of her most of songs from her latest album, vivid examples of top-notch sto- Impossible Dream, released just rytelling. The audience seems not the day before in the UK though to mind and shouts in encourage- it has long since been available ment and sympathy. A standing in the States. Despite only being ovation later and Patty, slightly accompanied by one of her usual tearful, gracefully returns for an band, guitarist Doug Lancio, we encore during which she road miss none of the breezy shuffle of tests another new song, Up To Love Throw A Line nor the lightly The Mountain, inspired by the melancholic Useless Desires. bravery of Martin Luther King, Moving to the piano, Griffin and old fan favourite Mary. Then treats us to a French lullaby once she is gone, though we mill around sung to her by her mother. Enti- for a few minutes uncertain of tled J’irai La Voir Un Jour (I Will whether there will be a second en- See It One Day), her emotive voice core. But Patty has other shows to conveys every drop of the pen- play in the days to come and we’ve sive hope that the title suggests. been plenty spoiled already. Staying at the keys, Kite Song, an- Alan Pedder

68 LIVE Original Sinsuality Father Lucifer Tori Amos Icicle Hammersmith Apollo Mother Revolution June 4th, 2005 Take To The Sky Yes, Anastasia Bells For Her «««« Father Figure Like A Prayer Winter Cooling Jamaica Inn Witness The Beekeeper ------Sweet The Rattlesnakes ------Hoochie Woman

Though each of her last few al- In a setlist drawing heavily gospel singers to add a welcome bums have come swaddled in con- from her first three records and sense of fun to the proceedings, ceptual complexities that would this year’s The Beekeeper, sev- unique to this performance. The make Nietzsche think twice about eral of her albums, including the live debut of the six-minute soul- indulging, tonight’s stop on Tori sublime Scarlet’s Walk (2002), ful epic Witness was the highlight Amos’ Original Sinsuality Tour were sadly neglected. However, a of the night, though the bizarrely mostly dispenses with the cer- surprise rendition of Lloyd Cole fluid boogie-woogie of empower- ebellar workout, leaving room for & The Commotions’ Rattlesnakes ment anthem Hoochie Woman was the levity of her music to truly from her contract-fulfilling cov- another real treat. impress. The sixth-form poetry ers album Only Jamaica Inn truly floun- clunkiness of the moniker aside, (2001), seemed unusually at home dered as Amos switched between this latest tour has been one of in the two-hour set. her beloved Bösendorfer and Ham- the more memorable in recent To attend a Tori Amos gig is to mond organ a few too many times, years and given her the chance be guaranteed a display of rever- slowing the song considerably. to showcase those famous inter- ence from her notoriously rabid Still, Amos’ prodigious talent and pretive skills first evidenced by fans and tonight was no differ- mastery of her instrument never her version of Nirvana’s Smells ent. Some even wept during more fails to amaze and confirms her Like Teen Spirit. For each night of tender moments such as the singular status. the tour, fans have been able to captivating Winter, live favourite The only true gripe was that, request covers via Amos’ official Cooling and the hymnal theatrics while Amos is undoubtedly a mu- website, resulting in perform- of The Beekeeper, a song written sical auteur, she fared less well ances ranging from the obvious last year after Amos’ mother fell visually with some of the worst to the outrageous. Tonight was ill with a life-threatening heart lighting projections in memory. the turn of George Michael’s Fa- problem from which she thank- Certainly she’s no Björk in that ther Figure and Madonna’s Like A fully recovered, and later embel- department and they added little Prayer, both of which have been lished following the death of her to the experience. But with a per- played before but sounded all the brother Michael in a road acci- former so compelling and music more polished for it. The former dent last November. this affecting, who really needs especially hit all the buttons that In complete contrast, Amos in- such trifling distractions? Michael could only strive for. vited onto the stage a choir of six Alan Pedder

69 incoming! A guide to the best new releases of the coming months. Dates subject to change.

SEPTEMBER OCTOBER 05: Ladytron - Witching Hour 03: Jana Hunter - Blank Unstaring Heirs Of Doom 17: t.A.T.u. - Dangerous & Moving

05: Sarah McLachlan - Bloom (remixes) 03: Ms. Dynamite - Judgement Days 24: Vashti Bunyan - Lookaftering

12: CocoRosie - Noah’s Ark 03: Floetry - Flo’Ology 24: The Fiery Furnaces - Rehearsing My Choir

12: Erin McKeown - We Will Become Like Birds 03: Heather Nova - Redbird 24: Jessica Simpson - ...& The Band Played On

12: Natalie Merchant - Retrospective 1990-2005 03: Sinéad O’Connor - Throw Down Your Arms 31: Gemma Hayes - The Roads Don’t Love You

12: - Souls Alike 03: Liz Phair - Somebody’s Miracle 31: Diana Krall - Christmas Songs

12: Kate Rusby - The Girl Who Couldn’t Fly 10: Adult. - Gimmie Trouble 31: Texas - Red Book

12: Trisha Yearwood - Jasper County 10: Fiona Apple - Extraordinary Machine 19: Broadcast - Tender Buttons 10: - The Runners Four NOVEMBER 19: Susheela Raman - Music For Crocodiles 10: - MTV Unplugged 07: - Greatest Hits

19: Dar Williams - My Better Self 10: Dolly Parton - Those Were The Days 07: Kate Bush - Aerial

26: The Corrs - Home 10: Sugababes - Taller In More Ways 07: Patti Smith - Horses 30th Anniversary

26: - Wildflower 10: Rosie Thomas - If Songs Could Be Held 14: - AcoustiCyn

26: Orenda Fink - Invisible Ones 17: The Cardigans - Super Extra Gravity 14: Edith Frost - It’s A Game

26: Lene Marlin - Lost In A Moment 17: Espers - The Weed Tree 14: Madonna - Confessions On A Dancefloor

26: Katie Melua - Piece By Piece 17: - The Road Less Travelled 14: - Greatest Hits (TBC)

26: Shelly Poole - Hard Time For The Dreamer 17: Eileen Rose - Come The Storm 14: Pink - Long Way From Happy (TBC)

26: Alice Russell - My Favourite Letters 17: Ashlee Simpson - I Am Me 14: - Oral Fixation Vol. 2

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