The Null Device

August is shaping up to be a good month for rereleases; now Cherry Red are rereleasing Another Sunny Day's "London Weekend" on the 17th. London Weekend contains indiepop classics such as You Should All Be Murdered, Anorak City and I'm In Love With A Girl Who Doesn't Know I Exist, and has been unavailable since Sarah Records shut down in 1995. The rerelease will come out with 6 bonus tracks and sleeve notes by Saint Etienne's Bob Stanley.

(Apparently the rerelease comes about through Harvey Williams having bought back the rights to the album, rather than Matt and Clare deciding to open the Sarah vaults, though there are (as always) vague rumours of more Sarah rereleases. Let's hope that they do happen and there's some Blueboy among them.)

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Things I didn't know until today: there is a video to Another Sunny Day's You Should All Be Murdered, and it consists entirely of black and white footage shot through the window of a train as it moves through some industrial part of Britain. Which, when you think about it, is quite appropriate.

And here is some rather distorted footage from a performance at a Sarah Records backyard party. No idea who the band are, I'm afraid.

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The indie-mp3 blog has just posted some demos by Another Sunny Day, the Sarah Records indie-pop project best known for You Should All Be Murdered. They're rather lo-fi, though interesting enough, and there are some decent songs there. The blog also claims to have some Field Mice demos which they will be posting shortly.

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A quick review of various items which arrived at my PO box today:

• Various artists, "Romantic and Square is Hip and Aware": a Smiths tribute album featuring mostly guitar-based jangly indie-pop bands who can probably trace their lineage back to Manchester's Finest. They're not bad, though many of them don't add much in the way of new ideas to the originals; don't look for too many radical reinventions here. Brazilian band Pale Sunday's bossa-tinged take on I Know It's Over is quite good, Anglo-Spanish popsters Pipas do a slightly dubby take on This Night Has Opened My Eyes and Jason Sweeney does a good Morrissey impression over bedroom electronics. Meanwhile, Australia's national indie band The Lucksmiths' take on There Is A Light That Never Goes Out sounds much like the original, only as a duet, deviating from the master about as much as Neil Finn's version from some time ago, while The Guild League's take on Panic has a jaunty, slightly brass-bandish take on it. The liner, by someone from The Snowdrops (who cover Bigmouth Strikes Again) notes are much the usual autobiographical tale of growing up awkwardly in the bedsits of Thatcher's England with one's Smiths records. (via Traffic Sounds.)
• Harvey Williams, California: I had the MP3s for this, and decided to get the CD. In the decade or so between Another Sunny Day (who brought us bedsit anthems like Anorak City and the unforgettable You Should All Be Murdered; check the filesharing nets for them) and this 1999 release, Harvey Williams had mellowed somewhat, bringing a CD of piano ballads, both touching and satirical, with a wry, and very English, turn of phrase, about the usual boy/girl situations. In a parallel universe, some of these have probably been picked up by Working Title for a London-based Gwyneth Paltrow romcom and Harvey has become the next Badly Drawn Boy. But there are some nice tracks here; the Bacharachesque instrumental Introducing..., for one.
• The Autocollants, Why Can't Things Just Stay The Same?. Lo-fi sweet indie-pop which starts off OK, though sounds a bit samey in places. Perhaps it's the production (the guitars sound like they were recorded on a four-track in someone's bedroom), or perhaps Laura Watling's voice is just that much too breathy for prolonged listening.
• Stereolab, 2004 Tour CD: whilst the groop don't look like visiting Australia this year, a copy of this 3" disc has made it into my hands courtesy of an American source (ta, bfd!). Contains three tracks, with the exquisitely Labbish titles "Banana Monster Ne Répond plus", "Rose, My Rocket-Brain!" (subtitled "Rose, Le Cerveau Electronique De Ma Fusée!"), and "University Microfilms Limited". And, yes, it's quite good; this isn't mere filler. The first track has an epic, multipartite quality akin to the best of the Lab, in its 5 and a half minutes, the second one sounds like the output of an automatic Stereolab song generator (in a good way), and the third one's not bad either.

I also got a copy of that CD of HP Lovecraft-themed retro fonts. Had I paid any more for it, I'd be disappointed; some of the letter spacing is a bit inconsistent, and more annoyingly, all the fonts have "HPLHS" as the style (where "Bold", "Italic" and so on should be), with the different weights and slants in each family showing up as separate faces. I suspect that the designers are not professional typographers (btw, who would call a font "Italic"?)

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