‘Direct Hit’ was the second single to be taken from Art Brut‘s album It’s A Bit Complicated which was released and marketed by Mute as part of the Labels arrangement with their then-parent EMI. Packaged in a sleeve that evokes school maths lessons (designed by the band and Mute’s art director Paul A. Taylor), ‘Direct Hit’ was released as a 7″ and two-track CD; a digital release was probably also put out, but sadly has been removed from iTunes.
‘Direct Hit’ finds the band in feisty mood, spitting out faintly over-the-top AC/DC heavy guitar riffs that have no logical place on an indie record; Beach Boys wordless vocal harmonies blend in with frontman Eddie Argos‘s finest Colin Newman deadpan (‘here comes the really good bit,’ he says at one point, just like something straight off Wire‘s ‘Map Ref. 41N 93W’). There are also some rattling guitar interjections that wouldn’t go amiss on a mid-period Sonic Youth track, shouty chorus vocals, what sounds like a theremin, lots of instructions to get on the dance floor and move, and even some descriptions of social awkwardness. For a three minute song, that makes for a pretty busy little track and its relativel non-conformity gave some encouragement back in 2007 that perhaps the spirit of punk hadn’t been lost for good after all.
Across the CD and 7″ are two B-sides. ‘Dont Blame It On The Trains’ is an ode to staying in the house under a duvet, general laziness and snoozing the whole day away. ‘What am I doing this weekend? Avoiding phonecalls from all my friends,’ runs one of the best couplets on a track that has a musical palette that feels like Blur attempting a cover of The Velvets’ ‘Sister Ray’ in a ‘Parklife’ stylee. The It’s A Bit Complicated album includes a track called ‘Blame It On The Trains’ which is nothing like this. Over on the 7″, the fantastically-titled ‘I Want To Be Double A-Sided’ is an emotional paean to love and insecurity over a rough, garagey groove. Argos’s vocals were apparently recorded on a the tour bus by Mikey Breyer in a car park, all of which gives this the feel of a pencil sketch, and it’s all the more lovely as a result.
First published 2012; edited 2016.
(c) 2016 Mat Smith / Documentary Evidence