Album Reviews
By Henry Lipput
Although Tapete Records is based in Germany they've released a bunch of albums by musicians in the UK including last year's terrific self-titled album from Davey Woodward and the Winter Orphans and this year's wonderful Midland Lullabies by Bill Pritchard. Two recent releases are from The Catenary Wires and The Proper Ornaments, two British bands with long-standing roots in indie music.
The Catenary Wires, Til The Morning
Til The Morning is full of post-breakup songs; but, unlike the devastating aftermath of the situation on albums like Beck's Sea Change or Duncan Sheik's Phantom Moon, The Catenary Wires are sad but not devastated and seem content to simply report the facts. This extends to the musical arrangements which are sparse but effective and give ample room for the lyrics to be heard and resonate.
The Catenary Wires are Amelia Fletcher and Rob Pursey who have been part of legendary pop bands like Tender Trap, Marine Research, Heavenly, and Talulah Gosh. They're assisted on Til The Morning by Fay Hallam on the organ, Nick and Clare Sermon on brass, piano from Matthew King on the title track, and producer Andy Lewis providing cello and percussion.
Fletcher and Pursey sing duets on most of the songs on Til The Morning, but also bring individual viewpoints to the mix. For example, on "Dream Town," she sings, "When he took off with all his things / I changed the locks and cried;" and he sings, "I don't think that I'll get much better if I tried / I might just forget her."
In "Dancing," both realize that a relationship is about to end but there's little that can be done to fix it. "I don’t wanna talk," both Fletcher and Pursey sing. "I just wanna see you dancing / Put a record on / Let the music freeze the air." And then he sings, "Did I really say that? / Could I take it back?" about, no doubt. something hurtful that was said in their past.
"Dark Brown Eyes" begins with what sounds like a snyth-generated horn right out of an 80s Blue Nile track. And on "Back On Hastings Pier," Fletcher's lead vocal and the arrangement echo the work of Sam Phillips of Gilmore Girls soundtrack fame.
The Proper Ornaments, 6 Lenins
6 Lenins is the third album from London's The Proper Ornaments. Led by James Hoare (also of Ultimate Painting and Veronica Falls) and Max Claps (Toy), the band also includes Danny Nellis (Charles Howl) on bass and Bobby Syme (Wesley Gonzalez) on drums.
The album is filled with some excellent tunes and there's more than a bit of shoegaze going on in songs like "Crepuscular Child" and "Song For John Lennon" (Doesn't that make for seven Lenins / Lennons?). "Where Are You Now" has a haunting organ playing around the edges.
Although it's sometimes difficult to make out the lyrics because the vocals have been made part of the mix like another instrument, the ones that stand out are keepers. On "Bullet From A Gun:" "When you know the feeling has gone / You better run / Like a bullet from a gun." And on the title song, which includes some jangle: "You like to be colorful / But it only comes out black / Your friends they all forgot / How it was to see you smile."
"Please Release Me" has a bit of the Velvet Underground's Loaded in its sound. But it's the closing track “"n The Garden" where that influence really flowers. The song ends with some great guitar playing and, at less than four minutes, it's something you're going to want to hear for twice that long. "In The Garden" has become a live favorite, and it's easy to see why.
Til The Morning and 6 Lenins are out now on Tapete Records.
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