I’m Dreaming Of A Mute Christmas

It’s that special time of the year where the sounds of well-worn Christmas hits from yesteryear fill playlists and people begin to debate whether ‘Fairytale Of New York’ really is the best Christmas song of all time.

With some help from my good friend and Mute afficionado Jorge, I here present a trawl through the back catalogues of Mute artists past and present to deliver an alternative compilation of seasonal songs; songs that range from the traditional, the just plain festive and on to the downright tenuous. Jorge has meticulously prepared a Spotify playlist containing everything we could get our hands on, though for some of the songs you may need to hope Santa brings you a Discogs gift voucher. For your optimal listening experience, Jorge’s should be listened to while wearing this year’s limited-edition Mute Christmas t-shirt and drinking one of the cocktails from Erasure’s Snow Globe box set. 

I often think of Erasure at Christmas, mostly because I remember receiving a 7″ of ‘You Surround Me’ in 1989 in my stocking. The year before, Vince Clarke and Andy Bell narrowly missed securing the coveted Christmas number one slot with Crackers International, an EP which led with ‘Stop!’ but also included the moving ‘She Won’t Be Home’ (renamed ‘Lonely Christmas’ on the slightly dubious The Erasure Christmas Gift 7″); elsewhere on the EP, the duo delivered a spooky version of the traditional carol ‘God Rest Ye Merry Gentlemen’ complete with authentic choir-boy vocals from Bell, while two years before the pair did a relatively throwaway take on ‘Silent Night’ for the US Yulesville promo LP. The limited formats of the ‘Am I Right’ EP (1991) featured a festive Me Company design of Christmas trees with a photo of a young boy holding presents, while Andy Bell co-hosted Channel 4’s Camp Christmas in 1993, with musical accompaniment from Vince. Andy also featured in a short film called I Hate Christmas as a market stall worker. 

2013 was the year that Erasure went all-out Christmas with the celebrated release of Snow Globe. The album collected a number of classic Christmas songs, including ‘Silent Night’ and ‘God Rest Ye Merry Gentlemen’ in updated splendour, as well as some of Vince and Andy’s own tracks. The limited-edition box – or should I say the obligatory limited-edition box, since if Mute did one thing in 2013 it was to ensure that their avid fans went without their turkey after spending out a small country’s GDP on ever more elaborate and expensive box sets – included a bauble, balloon, a packet of sweets and some Erasure-themed cocktail recipes. 

Other artists who’ve covered Christmas songs include Echoboy, who released a special split EP with Six By Seven for a Christmas show in Nottingham in 1999 which included a very alternative version of ‘Silent Night’. Richard Hawley also delivered a very easy listening take on ‘Silent Night’ for a special one-track CD given away to people who attended his show in Sheffield in December 2006; during winter gigs and on radio Hawley has also covered ‘Blue Christmas’, made famous by Elvis Presley, but I haven’t heard a recording of that yet (if anyone feels charitable enough at this time of giving to send me one in the name of research, please get in touch). 

In the wake of their 2008 album Seventh TreeGoldfrapp found time to record a beautifully jaunty version of ‘Winter Wonderland’ for a US Starbucks compilation, while former Blast First act Sonic Youth recorded a sketchy and somewhat unpleasant version of Martin Mull’s ‘Santa Doesn’t Cop Out On Dope’ for a 1996 compilation, which is definitely one for completists only. 

For Can completists, the veteran Krautrockers put out an ultra-twee take on ‘Silent Night’ way back in 1976 on Virgin in the UK. The Residents launched their audacious avant-garde music career with Santa Dog in 1972, a double 7″ single mailed out to various people featuring four tracks by various pseudonymous artists, all of whom were actually The Residents themselves (whoever they are). The band have released several other versions of Santa Dog since 1972 – in 1978, 1998, 1992 (‘Show Us Your Ugly’), 1999 (Refused), 2006 and 2012 (SD12). Way back in 1956, occasional Blast First artist Sun Ra co-opted the alias The Qualities and issued the doo wop 7-inch ‘It’s Christmas Time’. Backed with the sincere blues of ‘Happy New Year To You!’ this curiosity remains one of the most surprisingly accessible pop releases in the expansive Ra catalogue, and proof that they celebrate teh holidays on Saturn just like they do here on Ra’s adopted home.

Einstürzende Neubauten stalwart F.M. Einheit and Caspar Brötzmann recorded an album called Merry Christmas which Paul Smith‘s label put out in 1994, but it isn’t at all festive and, besides, it was released in May that year. Still, the album’s sleeve of a hand-drawn tank reminds me of troops putting down arms during World War II, so maybe there’s a connection to the festive season somewhere on this album after all. Mute US duo The Knife recorded a song called ‘Reindeer’ for their eponymous album in 2001; as if the song wasn’t festive enough already with its lyrics about Santa, The Knife issued a version with Christmas bells (renamed ‘Christmas Reindeer’) in 2006 as a free download. Holger Hiller’s eponymous last album for Mute in 2000 included the track ‘Once I Built A Snowman’, while Ben Frost’s 2017 album Music From Fortitude opened with ‘This Is Not Christmas’. 

Andreas Dorau, he of one-time Mute group Die Doraus Und Die Marinas, has recorded two Christmas songs. ‘Weihnachten Ist Auch Nicht Mehr Das Was Es Mal War’ is a bouncy electropop track that appeared on Staatsakt’s Santo Klaus sampler in 2016, and just over ten years earlier, he released the track ‘Weihnachten Im Wald’ as a limited-edition of 100 CDs for a Carhartt jeans promotion. The Jon Spencer Blues Explosion‘s 1992 Sub Pop Singles Club 7-inch paired together two excellent tracks – the wild rockabilly gestures of ‘Big Yule Log Boogie’ and the ‘Blue Christmas’-esque ‘My Christmas Wish’.

Josh T. Pearson became the first Mute artist to deliver a whole EP of Christmas songs, with his maudlin Rough Trade Bonus disc getting released in 2011 as a Rough Trade shop exclusive accompanying his Mute debut, Last Of The Country Gentlemen. This year, Pearson issued a new song, ‘2020’s Silent Night Hindsight’ straight to YouTube, and a more perfectly cynical take on a shit year you will be hard-pressed to find. 

In 2012, Canada’s Ladan Hussein, variously known as Al Spx and later Cold Specks covered Mary Margaret O’Hara’s ‘Christmas Evermore’ for a Christmas compilation, complete with brass and obligatory messages of peace and hope and a bit of Diamanda Galás-esque tremulous wailing. The debut Cold Specks album, I Predict A Beautiful Expulsion (2012) also features the stirring track ‘Winter Solstice’. 

Looper‘s 2003 album The Snare features the haunting and evocative ‘New York Snow’, while the ‘Intro’ track on M83‘s Hurry Up, We’re Dreaming has dreamy lyrics about walking in snow. Way back in 1982, Yazoo‘s Upstairs At Eric‘s included the sparse ‘Winter Kills’ and an orchestral version of ‘Only You’ was used in a Boots TV ad in 2017. A year before Upstairs At Eric’s, future Mute artists A Certain Ratio recorded the irrepressable long-form funk track ‘Winter Hill’ for their To Each album, while, some twenty years later, Nick Cave & The Bad Seeds released the wintery ‘Fifteen Feet Of Pure White Snow’ in 2001, regrettably the closest the songwriter has yet come to recording a seasonal song. Surely there’s a Christmas album in St. Nick somewhere? Moby‘s never done a Christmas track either, though he did remix arch-crooner Tony Bennett’s ‘I’m Coming Home For Christmas’ in 2007, but the track was only ever released as a promo. 

Maps, known to his parents as James Chapman, kicked off his pre-Mute career as Short Break Operator, including the haunting ‘Some Winter Song’ as the first track on his debut EP from 2003. In fact, of all the Mute roster, Maps is easily the most prolific Christmas-loving artists. He recorded the frosty ‘Sparks In The Snow’ for his second single, went on to cover East 17’s ‘Stay Another Day’ for a promo CDr and released ‘Merry Christmas (My Friend)’ straight to Soundcloud in 2013, which is among the most atmospheric things Chapman has ever recorded. 

Later still, 2016 Chapman’s collaboration with former Mute artist Polly ScattergoodOn Dead Waves, yielded two Christmas songs in the form of a cover of ‘In The Bleak Midwinter’ and the track ‘Winter’s Child’ that closed the duo’s only album together. This year, Polly Scattergood released her own Christmas track, ‘Snowburden’, which followed this year’s career-defining and intensely personal album In This Moment. The new song found the singer somewhere between Laurie Anderson-esque sound art and sensitive balladeering. 

Also this year, one of Mute’s longest-serving sons, David Baker – one half of I Start CountingFortran 5 and Komputer – released ‘The Lights Of The Pub’, a charity single under his Joanna-tinkling alias Dave The Keys in aid of his local London boozer, The Lamb on Holloway Road. Inspired, in part, by ‘Fairytale Of New York’, ‘The Lights Of The Pub’ has the requisite mix of memories, festive bells and a Dickensian air of that which has been lost. Read more about ‘The Lights Of The Pub’ here

Speaking of charity, here’s a shameless plug: in 2012, Documentary Evidence compiled MuteResponse, a double download charity compilation album intended as a tribute to Mute’s legacy, and also to rule off the first ten years of writing this very site. On MuteResponse #1, I was able to include one-time Credible Sexy Units act Vic Twenty‘s ‘Christmas In Korea (New Year In Japan)’. Angela ‘Piney Gir’ Penhaligon and Adrian Morris recorded the track years ago but it was never officially released until the MuteResponse compilation. I first heard this track years ago during an interview with Morris, and I always wanted to make sure that others would get to hear it, and so I was delighted to let the song see the light of day. Incidentally, Piney’s done plenty of other Christmas songs, one of my personal favourites being the lovely ‘For The Love Of Others’ in 2009. You can find MuteResponse over at Bandcamp

So we’ve surveyed the traditional and the festive – what about the tenuous? Look no further than Mute’s most bankable act, Depeche Mode, whose only obvious Christmas connection was Dave Gahan delivering a festive message on the aforementioned Yulesville compilation. However, a year earlier, Depeche’s Alan Wilder and Martin Gore penned the track ‘Christmas Island’ as the B-side to ‘A Question Of Lust’; it isn’t remotely festive, it was released in May that year, it’s named after an island in the Indian Ocean, but it’s got the word Christmas in the title and so, dubious though it is, onto the Dreaming Of A Mute Christmas playlist it goes. 

Christmas is supposed to be fun, and so here’s a version of The Normal’s ‘Warm Leatherette’ by The Bombshelter Brigade, re-titled ‘Merry Christmas’ and taken from the 1988 compilation Christmas At The Bombshelter.

Happy Christmas to Mute fans everywhere. 

Words: Mat Smith 
Spotify playlist and Mute Navidad nous: Jorge Punaro 

(c) 2020 Documentary Evidence & Jorge Punaro. Earlier versions of this feature were published in 2012 and 2013. If we’ve missed anything let us know and we’ll get them added in.

Mute 4.0: Josh T. Pearson – Last Of The Country Gentlemen (Mute Artists album, 2011)

joshtpearson_lastofthecountrygentlemen2

As part of Mute‘s fortieth ‘anti-versary’, the label is making available very special limited edition vinyl versions of selected releases from their four decades of releasing and curating incredible music. To celebrate this element of Mute 4.0, we’re re-posting reviews of those special albums from the depths of the Documentary Evidence archives. Full details on the releases can be found here.

Last Of The Country Gentlemen, Josh T. Pearson‘s much-anticipated début album, garnered all manner of positive reviews in the run up to its release. In a climate where everyone seemed to be focussed on the retro punk stylings of The Vaccines, it was pleasing to see that an album consisting mostly of heart-wrenching confessionals delivered by a singer over simple accompaniment (mostly guitar, some strings) could get so much positive praise. The album was preceded by a piano version of the track ‘Country Dumb’, the album version resplendent with guitars and violin instead of piano, a towering yet fragile ballad that stirs something deep within.

On a personal level, Last Of The Country Gentlemen‘s gentle, emotional grace is deeply affecting. I listened to this over a weekend where we had sold or given away some clothes, toys and other ephemera belonging to our two girls, in itself a moving experience, and Pearson’s songs of transition seemed to heighten the fragile mood I was in over the weekend.

Pearson’s voice is a beautiful thing to listen to. Occasionally whispered, occasionally rising with clarion quality, the consistent aspect is that he makes every single syllable, every word and every line count; everything that comes from his mouth is freighted with depth and sentiment. Though his Texan twang is a million miles away from Antony Heggarty’s vocal gymnastics, the two singers share the same talent for soaking their most basic utterances in something indefinable which can leave you feeling affirmed, tearful and empty after listening to their music; you will need to invest almost everything you have into listening to these songs, and you will feel utterly spent at the conclusion. One song is hard enough; eight songs is nigh on torturous.

Last Of The Country Gentlemen was, according to The Times review, written during a period of heartbreak, and there is a definite theme of separation running through the eight songs here (three of which are well over ten minutes in length). However, with the exception of the bitter (yet controlled) statement of intent ‘Woman, When I’ve Raised Hell’, soaked in strings arranged by Dirty Three and Bad Seeds / Grinderman violinist Warren Ellis that amplify the mood palpably, the theme does not appear to be one of regret at his loss; more, there is a resigned air of Pearson almost forcing a separation, for the benefit of his lover. The twelve minute ‘Sweeheart I Ain’t Your Christ’ is a case in point – throughout this song, Pearson is effectively advising his lover that she’d be better off without him. That sense of setting someone free, for their benefit, especially if they don’t realise it, is just about the hardest damn thing to do, a selflessness that is gut-wrenchingly moving.

That theme is somewhat at odds with the sleeve, which appears to show Pearson trying to prevent his lover – whose face is blank, emotionless, detached – from leaving. He is grasping her legs, eyes closed, as if he would rather be dragged across the gravel rather than let her go, but it fits with the heartbreak and torment evident in the songs here. The track ‘Honeymoon’s Great! Wish You Were Her’, is a song about marrying someone but still being in love with someone else; this is the closest Pearson gets to being frustrated with his lot (albeit, it seems, of his own doing), and there is a section where the strings come up in great big swells that make you sympathetic toward his conflict, not angry at his infidelity. ‘Sorry With A Song’ is Pearson’s apology, of sorts.

Something about these songs encourage you to believe that Pearson is telling you his story here; like a début novel, the roman a clef tends to be written mostly from personal experience and emotions, containing thinly-disguised autobiographical aspirations more than pure fiction. These songs seem so honest, so genuine, that you want to believe that this is Pearson’s own story being articulated across these eight songs in spite of the desperation, frustration and sorrow contained here. We would be faintly disappointed if this songwriting was found to be fictional.

Last Of The Country Gentlemen was recorded in Berlin, and mixed in London by Gareth Jones (although a couple of tracks were mixed by David ‘Saxon’ Greenep). There is a sense of hands-off production on these tracks, a sense of respect for the songs themselves and the outpourings contained within them. Presenting the songs ‘just so’ is a brave, yet powerful thing to do; the album thus has a stark innocence that leaves me well and truly floored whenever I listen to it.

Special edition: Rough Trade Christmas Bonus

Mute released Last Of The Country Gentlemen again in November 2011 with a second disc of Josh T. Pearson performing a selection of Christmas songs, the occasion being Rough Trade Shops placing his album at the top of their 2011 album chart. The expanded version was only available from Rough Trade. To celebrate the release of Pearson’s Rough Trade Christmas Bonus, Rough Trade East printed up a special rubber curtain containing the picture from the Christmas EP’s sleeve to cover their front entrance.

The thing with Christmas carols is that they can often have an air of sadness about them; few have an obvious joyousness, though all have an inherent beauty. As such, Josh T. Pearson is well-suited to delivering the five songs he intimately performs here. Last Of The Country Gentlemen had few naturally uplifting moments, though – as evidenced by the live LP (again, only released through Rough Trade Shops) The King Is Dead – Pearson himself is actually pretty light-hearted and self-deprecating. Here we find him struggling while trying to pluck the notes to a lovely rendition of ‘Silent Night’, unaware that his musings are being recorded, cocking up the introduction to ‘Angels We Have Heard On High’ and delivering a faultless accapella rendition of ‘Away In A Manger’, which masterfully rescues the carol from thousands of painful school nativities. Likewise, his bluesy rendition of ‘O Little Town Of Bethlehem’ moves the song away from the tuneless butchering of this carol by assembled toddlers and into masterful, graceful territory. In defiance of his image as a humourless misanthrope, he even adds a wee coda of ‘Jingle Bells’ at the very end.

‘O Holy Night’ is testament to how Pearson can take a song that’s not his own and add his own distinctive style to create something utterly original. Here his reading sits somewhere between the melancholy grandeur of Last Of The Country Gentlemen and the more introspective aspects of the Rufus Wainwright back catalogue. In a burst of seasonal goodwill, an alternative version of of ‘O Holy Night’ was made available for free from Pearson’s own website.

For Mute 4.0, Last Of The Country Gentlemen is being reissued as a gold double LP edition.

First posted 2011; re-edited 2015; re-posted 2018

MUTE4.0_V3

(c) 2018 Mat Smith / Documentary Evidence

Josh T. Pearson – Last Of The Country Gentlemen (Mute Artists album, 2011)

album // Last Of The Country Gentlemen
  
mute artists | lp+cd/cd/dl stumm326 | 14/03/2011
rough trade shops edition xcdstumm326 released 21/11/2011

Last Of The Country Gentlemen, Josh T. Pearson‘s much-anticipated début album, garnered all manner of positive reviews in the run up to its release. In a climate where everyone seemed to be focussed on the retro punk stylings of The Vaccines, it was pleasing to see that an album consisting mostly of heart-wrenching confessionals delivered by a singer over simple accompaniment (mostly guitar, some strings) could get so much positive praise. The album was preceded by a piano version of the track ‘Country Dumb’, the album version resplendent with guitars and violin instead of piano, a towering yet fragile ballad that stirs something deep within.

On a personal level, Last Of The Country Gentlemen‘s gentle, emotional grace is deeply affecting. I listened to this over a weekend where we had sold or given away some clothes, toys and other ephemera belonging to our two girls, in itself a moving experience, and Pearson’s songs of transition seemed to heighten the fragile mood I was in over the weekend.

Pearson’s voice is a beautiful thing to listen to. Occasionally whispered, occasionally rising with clarion quality, the consistent aspect is that he makes every single syllable, every word and every line count; everything that comes from his mouth is freighted with depth and sentiment. Though his Texan twang is a million miles away from Antony Heggarty’s vocal gymnastics, the two singers share the same talent for soaking their most basic utterances in something indefinable which can leave you feeling affirmed, tearful and empty after listening to their music; you will need to invest almost everything you have into listening to these songs, and you will feel utterly spent at the conclusion. One song is hard enough; eight songs is nigh on torturous.

Last Of The Country Gentlemen was, according to The Times review, written during a period of heartbreak, and there is a definite theme of separation running through the eight songs here (three of which are well over ten minutes in length). However, with the exception of the bitter (yet controlled) statement of intent ‘Woman, When I’ve Raised Hell’, soaked in strings arranged by Dirty Three and Bad Seeds / Grinderman violinist Warren Ellis that amplify the mood palpably, the theme does not appear to be one of regret at his loss; more, there is a resigned air of Pearson almost forcing a separation, for the benefit of his lover. The twelve minute ‘Sweeheart I Ain’t Your Christ’ is a case in point – throughout this song, Pearson is effectively advising his lover that she’d be better off without him. That sense of setting someone free, for their benefit, especially if they don’t realise it, is just about the hardest damn thing to do, a selflessness that is gut-wrenchingly moving.

That theme is somewhat at odds with the sleeve, which appears to show Pearson trying to prevent his lover – whose face is blank, emotionless, detached – from leaving. He is grasping her legs, eyes closed, as if he would rather be dragged across the gravel rather than let her go, but it fits with the heartbreak and torment evident in the songs here. The track ‘Honeymoon’s Great! Wish You Were Her’, is a song about marrying someone but still being in love with someone else; this is the closest Pearson gets to being frustrated with his lot (albeit, it seems, of his own doing), and there is a section where the strings come up in great big swells that make you sympathetic toward his conflict, not angry at his infidelity. ‘Sorry With A Song’ is Pearson’s apology, of sorts.

Something about these songs encourage you to believe that Pearson is telling you his story here; like a début novel, the roman a clef tends to be written mostly from personal experience and emotions, containing thinly-disguised autobiographical aspirations more than pure fiction. These songs seem so honest, so genuine, that you want to believe that this is Pearson’s own story being articulated across these eight songs in spite of the desperation, frustration and sorrow contained here. We would be faintly disappointed if this songwriting was found to be fictional.

Last Of The Country Gentlemen was recorded in Berlin, and mixed in London by Gareth Jones (although a couple of tracks were mixed by David ‘Saxon’ Greenep). There is a sense of hands-off production on these tracks, a sense of respect for the songs themselves and the outpourings contained within them. Presenting the songs ‘just so’ is a brave, yet powerful thing to do; the album thus has a stark innocence that leaves me well and truly floored whenever I listen to it.

Special edition: Rough Trade Christmas Bonus
  
mute artists | xcd stumm326 | 21/11/2011

Mute released Last Of The Country Gentlemen again in November 2011 with a second disc of Josh T. Pearson performing a selection of Christmas songs, the occasion being Rough Trade Shops placing his album at the top of their 2011 album chart. The expanded version was only available from Rough Trade. To celebrate the release of Pearson’s Rough Trade Christmas Bonus, Rough Trade East printed up a special rubber curtain containing the picture from the Christmas EP’s sleeve to cover their front entrance.

The thing with Christmas carols is that they can often have an air of sadness about them; few have an obvious joyousness, though all have an inherent beauty. As such, Josh T. Pearson is well-suited to delivering the five songs he intimately performs here. Last Of The Country Gentlemen had few naturally uplifting moments, though – as evidenced by the live LP (again, only released through Rough Trade Shops) The King Is Dead – Pearson himself is actually pretty light-hearted and self-deprecating. Here we find him struggling while trying to pluck the notes to a lovely rendition of ‘Silent Night’, unaware that his musings are being recorded, cocking up the introduction to ‘Angels We Have Heard On High’ and delivering a faultless accapella rendition of ‘Away In A Manger’, which masterfully rescues the carol from thousands of painful school nativities. Likewise, his bluesy rendition of ‘O Little Town Of Bethlehem’ moves the song away from the tuneless butchering of this carol by assembled toddlers and into masterful, graceful territory. In defiance of his image as a humourless misanthrope, he even adds a wee coda of ‘Jingle Bells’ at the very end.

‘O Holy Night’ is testament to how Pearson can take a song that’s not his own and add his own distinctive style to create something utterly original. Here his reading sits somewhere between the melancholy grandeur of Last Of The Country Gentlemen and the more introspective aspects of the Rufus Wainwright back catalogue. In a burst of seasonal goodwill, an alternative version of of ‘O Holy Night’ was made available for free from Pearson’s own website.

lp+cd/cd/i:
1. Thou Art Loosed
2. Sweetheart I Ain’t Your Christ
3. Woman, When I’ve Raised Hell
4. Honeymoon’s Great! Wish You Were Her
5. Sorry With A Song
6. Country Dumb
7. Last Of The Country Gentlemen (lp/i bonus track)
8. Drive Her Out

xcd:
1. Silent Night
2. Angels We Have Heard On High
3. Away In A Manger
4. O Holy Night
5. O Little Town Of Bethlehem

Note: this CD was packaged with the CD copy of the album as a Rough Trade Shops exclusive

First posted 2011; re-edited 2015

(c) 2015 Mat Smith / Documentary Evidence

Josh T. Pearson – The King Is Dead (Mute Records album, 2011)

album // The King Is Dead

 Josh T. Pearson 'The King Is Dead' LP artwork 

mute artists | lp lstumm326 | 05/09/2011

In 2011, my wife and I went to see Ryan Adams at the Barbican for what turned out to be an excellent acoustic solo show. Adams’s musicianship has never been questioned, but what was surprising was how comedic and downright funny his story-telling and banter was; for an artist with a history of issues and a reputation for cantankerousness and volatility (only in evidence once that night), to see / hear this side of him was totally unexpected.

Later on in 2011, we’d had a plan to see Josh T. Pearson, also at the Barbican, for what was billed as a solo acoustic show (with special guests); unfortunately, we wouldn’t make it to that show thanks to a suspected burglary at a relative’s house. When we booked the tickets, Mrs S said ‘He’s supposed to be really funny on stage,’ which seemed totally implausible; the songs presented on his album Last Of The Country Gentlemen were so uniformly maudlin, intimate and personal that any possibility of a lighthearted side to Pearson seemed remote. But, at least at the start of this audio document of his performance at Union Chapel in Islington on 11 May 2011, what’s revealed is a man who’s not afraid to send himself up, making jokes about his appearance (‘I totally forgot to shave this morning,’ he quips, referencing his copious facial hair) and generally acting the clown; he comes across a lot like Loudon Wainwright III in the self-deprecating, all-too-honest way he speaks.

The King Is Dead is described as an ‘official bootleg’ and is presented in a way that does indeed look like a cheeky crowd recording (i.e. a simple white sleeve with the track details glued on). The 6-track album was released on LP only and was exclusively available via Rough Trade Stores and their website, where it was described as ‘future eBay gold’. For some reason, the rear sticker on the sleeve includes the old Mute Czechoslovakia logo. The album was sensitively mastered in Berlin by Stefan Betke, aka minimal techno musician and one-time Mute artist Pole, regarded as one of the best vinyl masterers in the business these days. Betke’s pressing manages to successfully capture the quiet, almost silent, sections of Pearson’s delivery. It is not, as I found, an album to be listened to on a train whilst commuting; this is one for the evening, at home, when the house is near-silent, with or without a herbal tea. Or possibly a glass of bourbon. And most definitely to be consumed on your own without people around you. Especially anyone you may have wronged at some point.

Last Of The Country Gentlemen was a moving album and Pearson’s live delivery of the outwardly simple, but inherently complex, emotional outpourings of his debut’s tracks – all of amorphous length, volume and with tempos often varying throughout – highlights the assuredness with which Pearson owns these songs. The addition of gentle orchestration (on ‘Woman When I’ve Raised Hell’ and again on ‘Country Dumb’, with additional piano by Dustin O’Halloran) subtly raises the moving dimension of these songs. The section of ‘Woman When I’ve Raised Hell’, where the orchestra swells above Pearson’s strummed guitar, is one of the most rousing moments in a set which could otherwise be depressing.

‘Devil’s On The Run’, included here and unavailable elsewhere, features the audience taking over singing duties toward the end – and, as this was recorded in what used to be a church, the assembled voices have a natural choral effect, which is a beautiful thing for your ear to experience. Appropriately enough, given the setting, Pearson also does his familiar blending of ‘Rivers Of Babylon’ with Last Of The Country Gentlemen‘s opener, ‘Thou Art Loosed’ and its one of the most sublime moments on The King Is Dead, particularly at the very end when Pearson’s guitar gets wildly fuzzed-up. Also included here is the upcoming next single, ‘Sorry With A Song’, which is exactly that – an apology, in a song; here it’s a somewhat more rambling affair, but it’s shorter than the other five tracks. The whole thing – all six tracks – runs for a grand total of fifty minutes; Pearson doesn’t do brief.

Listening to this on the way to work back in 2011 had an unexpected effect on my outlook for most of the morning; it may have been tiredness and nothing to do with listening to this, but I found myself thinking introspectively for most of the day, I couldn’t concentrate and I found myself apologising for things I knew weren’t my fault.

lp:
A1. Sweetheart I Ain’t Your Christ
A2. Woman, When I’ve Raised Hell
A3. Sorry With A Song
B1. Country Dumb
B2. Rivers Of Babylon / Thou Art Loosed
B3. Devil’s On The Run

Originally posted 2011; edited 2015

(c) 2015 Mat Smith / Documentary Evidence