Gwen Stefani – Wonderful World (Interscope, 2006)

Gwen Stefani 'The Sweet Escape' CD artwork

The Sweet Escape album | Interscope | 2006

Mute alumni Martin Gore and Richard Hawley appeared on this upbeat closer to Gwen Stefani’s The Sweet Escape, both adding their guitar talents to a song which sounds suspiciously like Stefani trying to cover Depeche Mode‘s ‘Enjoy The Silence’ via Black’s song of the same name. Hawley and Gore’s contributions are quiet and not exactly distinctive: Hawley seems to offer ruminative slide guitar wheras Gore’s playing seems to be the kind of simple but devastating melodies he’s made his own. Unfortunately, they’re both just drowned out by the garish high energy pop of this Linda Perry-penned tune.

First posted 2013; re-posted 2014.

(c) 2014 Mat Smith / Documentary Evidence

S.C.U.M – 568 (Mojo covermount, 2011)

Various Artists 'Power, Corruption & Lies Covered' CD artwork

Power, Corruption & Lies Covered | mojo covermount cd | 2011

This track was recorded by S.C.U.M for a Mojo compilation celebrating the release of New Order‘s Power, Corruption & Lies thirty years before. Thomas Cohen‘s boys joined the likes of Errors, Walls and Zombie Zombie who recorded a track apiece for the compilation which, given the participants and the different music worlds they individually occupy, has a natural unevenness, unlike the sleek production of the New Order original.

‘568’ was never my personal favourite song, either in the New Order back catalogue or on Power, Corruption & Lies. It was, to me, ‘Blue Monday’-lite, with none of the classic moments that the track it was so similar to contained. Mercifully, I’m able to put that to one side with the S.C.U.M version, which dispenses with the shameless (but careless) bounce of the original and moves proceedings into a far darker place than New Order’s version suggested was possible. Cohen’s vocal is detached and sinister (but also strangely authentic compared with Bernard Sumner‘s original), while the serenity of the lengthy build up provides no clue to the musical handbrake-turn that the band are about to pull when grainy distortion and a twisted bass arpeggio swing into view. Their version is more linear, less stop-start, and winds up sounding a lot like ‘New Gold Dream (81/82/83/84)’ by Simple Minds.

Sadly this was probably among the last recordings S.C.U.M ever made and it’s yet another reminder of how disappointing it was that they called it quits.

I thought it high time to post this for two reasons: the occasion of Mute announcing the somewhat unexpected signing of New Order to the label that was revealed earlier this week, and also because occasionally I like to depress myself about S.C.U.M’s untimely demise.

(c) 2014 Mat Smith / Documentary Evidence

Tegan And Sara – Closer (Yeasayer Remix) (Sire single, 2013)

Tegan And Sara 'Closer (Remixes)' download artwork

Closer (Remixes) single | Sire | 2013

Yeasayer remixed ‘Closer’ by Calgary’s identical twins Tegan and Sara Quin. The result is a frantic, jerking sprawl of electro beats and buzzing synths that seem to be operating on the very edge of control while retaining a hypnotic, human quality. Tegan and Sara offer a delicate, warm and sensual delivery, full of yearning, desire, Eighties New Wave vocal reminiscences and sweet harmonies. Yeasayer’s approach to reconstructing and redeveloping the track’s music offsets that longing with a more desperate, needful edge, like a horny malfunctioning robot with its circuits focussed on one singular deviant goal.

First posted 2013; re-posted 2014.

(c) 2014 Mat Smith / Documentary Evidence

Richard X – Into You (Virgin, 2003)

Richard X 'Richard X Presents His X-Factor Vol. 1' CD artwork

Richard X Presents His X-Factor Vol. 1 album | Virgin | 2003

Richard Hawley added subtle, discrete slide guitar and backing vocals to this pretty ballad from Richard X’s solitary album, with his old Pulp bandmate Jarvis Cocker on strangely maudlin lead vocals. ‘Into U’ has the disctinction of being one of the only tracks on X-Factor that doesn’t feature X cheekily sampling and mashing up bits of other pop songs, but the chiming melody sounds like it’s copying the sound of well-known bells peeling. Richard X thanks Daniel Miller in the liner notes. The track was co-written with Mazzy Star’s Hope Sandoval.

Richard X produced the new Erasure album The Violet Flame which will be released in September 2014.

First published 2013; re-posted 2014

(c) 2014 Mat Smith / Documentary Evidence

Gotye – Eyes Wide Open (Yeasayer Remix) (Universal single, 2012)

Gotye 'Eyes Wide Open' download artwork

Eyes Wide Open (Remixes) single | Universal | 2012

Yeasayer remixed Dutch-Australian Gotye’s ‘Eyes Wide Open’ single in 2012. Their version is a slow, sensual mix that sounds like it should have been recorded many, many moons ago for one of those late-night radio request shows where people dedicate songs to people they love / want to hook up with / need a soundtrack for sex with, though backward sounds, metallic snares and big synths provide a modern twist. It’s a side to Yeasayer not heard on their own material, but it lacks that ingredient that makes their own music so utterly confounding.

First published 2012; re-posted 2014

(c) 2014 Mat Smith / Documentary Evidence

Orbital – Beelzedub (Danny Briottet Mix) (ACP single, 2012)

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Beelzedub single | ACP | 2012

Former Renegade Soundwave member Danny Briottet reworked this menacing track from Orbital’s 2012 Wonky LP. A sort of spiritual (or maybe that should be anti-spiritual) descendent of the Hartnoll brothers’ ‘Satan’, ‘Beelzedub’ is here recast as a bass-heavy cut with lots of ground-out distorted moments that recall Briottet’s work in Soundwave, as well as offering a nod toward the more contemporary mood – if not the stop-start mantra – of dubstep. The fusion of dark, ominous soundtrack strings with Briottet’s sprinkles of melody and his comprehensive knowledge of the mechanics of dub makes this an essential re-imagining of the Hartnoll schtick.

Listen to the mix below.

Thanks to Jorge.

(c) 2014 Mat Smith / Documentary Evidence

Hope & Harrow – Sufferhead (Workhouse Digital single, 2013)

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workhouse digital | dl | 23/10/2013

After almost twenty-eight years, Pete Hope and Dave Harrow have decided the time is right for a follow up to their 1985 EP, also titled Sufferhead.

Vocalist Pete Hope is a stalwart of the Sheffield post-punk scene, which meant that some sort of collaboration with someone from Cabaret Voltaire was always a possibility – in Hope’s case it was working with Richard H. Kirk on the album Hoodoo Talk. Hope has also worked with Jono Podmore (Kumo, Metamono, Cyclopean) and in The Box with members of Clock DVA. As for Harrow, he has occupied a shadowy presence in the world of electronic music, working with Psychic TV, Adrian Sherwood’s venerable On-U institution (overseeing mixes for Depeche Mode, Mark Stewart and others), Anne Clark, Andy Weatherall and working as Technova and other aliases.

Some things are worth waiting for, as proven by this five-track EP. Sufferhead is an understated, assured release wherein electronics flutter and stalk with repetitious dark menace and vocals growl with thinly-concealed threat, anger and cynicism. Standout track ‘Revolution Train’ (see the clip below) is like an amalgam of everything Nitzer Ebb were trying to do around the time of Belief, only with more depth and attention to detail, while ‘Tongue Tied’ takes a crisp, jittery IDM pulse and adds in suggestive low-pitched spoken vocals that probably aren’t about getting your words muddled up. At opposite ends of the spectrum, ‘Sparticus’ might sound aggressive and disappointed by turns but it conceals a hidden sincerity, while the electronic dub of ‘Turn Up The Fuzz’ comes with a punkish social awareness suggesting that things are just as rubbish today as they were in the mid-Eighties.

Labelling this a comeback would be an insult; against a backdrop of electronic music regaining visibility with critically-acclaimed albums from bands and artists that have been treading the boards since the early Eighties, Sufferhead is a lot like a grenade being tossed casually into the fray, its impact proving categorically that much more interesting music is made just below the surface.

Sufferhead can be bought from Juno, Amazon or iTunes.

Thanks to Jono.

dl:
1. Perfect Rain
2. Tongue Tied
3. Revolution Train
4. Sparticus
5. Turn Up The Fuzz

First published 2013; edited 2014

(c) 2014 Mat Smith / Documentary Evidence

Simian Mobile Disco & Chris Keating – Audacity Of Huge (Wichita, 2009)

Simian Mobile Disco 'Temporary Pleasure' album artwork

Temporary Pleasure album | Wichita | 2009

Get past the processed vocal that sounds a little like an Adam Buxton pisstake of a Basement Jaxx track and you’ll find Yeasayer‘s Chris Keating namechecking everything from Bill Murray to Peter Tosh, to minidiscs to robot vacuum cleaners. Keating here sounds like a Nineties Bret Easton Ellis’s Patrick Bateman in hyper-privileged savvy metrosexual overdrive (sorbet, high fashion, exclusive social set), only tinged with anguish with the question ‘I’ve got it all / You know it’s true / So why don’t I have you?‘ Simian Mobile Disco sculpt a bleeping, jerky techno pop backdrop to Keating’s tortured soul-pop performance.

Thanks to M for telling me about this one. I’m re-posting this short review since I’m currently writing about the new Simian Mobile Disco album (Whorl) for Electronic Sound.

First published 2012; re-edited 2014

(c) 2014 Mat Smith / Documentary Evidence

HTRK – Chinatown Style (Ghostly International short film, 2014)

HTRK 'Psychic 9-5 Club' LP artwork

In my Clash review of HTRK‘s third album (Psychic 9-5 Club), I likened the smooth, sensual dubby soundscapes of Jonnine Standish and Nigel Yang‘s music to the ‘aural equivalent of Prozac’, an effect that leaves their music devoid of any discernible ups and downs.

The duo have worked with director Nathan Corbin on a short film for the track ‘Chinatown Style’, which finds the viewer following various Chinatown residents around seemingly quotidian pastimes – cooking octopus, jazz dancing and so on – all jarringly set to Standish and Yang’s ethereal ambience.

Here’s what Corbin had to say about the film: ‘I worked as a delivery boy in Manhattan in my early twenties. It’s an intimate way to experience the city. The delivery is a conduit into an extended, physical exchange. It can be erotic and psychedelic; the repetition of “opening” in a city full of guarded skyscrapers and locked doors. You float invisibly, drifting from one ambiance to the next.

‘In NYC there is fluidity between everyone. You’re constantly “encountering”people. Always entering. The energy can vary wildly with successive shifts from light to dark to light like yin-yang. You found luck! You find yourself in a utopian center: a Psychic 9-5 Club.

‘People are dancing.

‘I chose to work with people I didn’t know for the most part..so that our interaction was new, innocent..like a delivery.

‘The cinematography concept was crucial. Shoot with a wide angle lens to create that innocence. You see everything so the “gaze”… the obsessive and voyeuristic part of looking is reduced. The eye of an open heart.’

Chinatown Style can be viewed below. Probably not one to watch at work (or if you’re a vegetarian).

Thanks to Matthew @ Ghostly.

(c) Mat Smith / Documentary Evidence

Thomas Cohen – Honeymoon (unreleased single, 2013)

Seeing images of Thomas Cohen splashed all over the front page of yesterday’s Evening Standard – following the reports confirming that his wife, Peaches Geldof, died as a result of a heroin overdose – prompted the recollection that Cohen’s debut solo single had been unveiled on YouTube in October last year. To date the track has not seen the light of day through an official release, and presumably the tragedy in his personal life has quite rightly put any promotional activity to one side for now.

‘Honeymoon’ is a long, woozy number that’s impossible to consider now without thinking about Cohen’s loss. The song is a languid, heartfelt, romantic song that finds the singer dispensing with the gloomy goth overtones for something bordering on Leonard Cohen’s particular brand of introspective, poetic torch song. There’s a sense of Cohen here cradling his wife, telling her he’ll keep her safe from harm, that all they need is one another and nothing more; whether that’s just something you hear filtered through what you imagine he must be going through today is debatable, but irrespective, with its sparse arrangements, monolithic guitar riffs and plaintive sax, this shows that Cohen’s post-S.C.U.M work was likely to be heading in an interesting – if unexpectedly tender – direction.

The track can be heard above.

Stay strong Thomas.

Thanks to Jorge.

(c) 2014 Mat Smith / Documentary Evidence