The Null Device
Posts matching tags 'spearmint'
Kieron Gillen and Jamie McKelvie, the writer/artist team who brought us the history-of-Britpop-as-Hellblazer graphic novel Phonogram, have a new project coming out: a graphic novel based on the songs of UK indie band Spearmint, titled This Is A Souvenir.
This week, I went to see Spearmint at the Luminaire. They were excellent; incredibly tight and energetic, with lots of handclaps, harmonies and dancing around the stage. And their new material is quite impressive (particularly Psycho Magnet, which sounds like what Funny Little Frog would have been had it been recorded by early-1990s Pulp rather than Belle & Sebastian).
Anyway, a few choice video fragments from the gig:
UK indie band Spearmint have a new fans-only acoustic CD. Titled "The Boy And The Girl That Got Away", it features nine songs written especially for an acoustic tour earlier this year, and may be found at Spearmint's label's website:
This album is strictly limited and will not be available in high street shops or from other websites. Featured tracks are:
Your New Gay Friend
Your Southern Skies
Some Men Are Like That
Why I'm Sad
A Little Better
Alone In A Town
Another Gloomy Sunday
London-based indiepop band Spearmint are offering a new downloadable single. The mail says it's an MP3 (and not some kind of DRM-crippled Windows Media file or what have you), and will set you back one quid, including artwork. (That includes VAT, which presumably they'll deduct if you're not in the EU.) Or, for £2.50, you can get it and singles by two other bands on the hitBACK label (The Free French and Host).
The Null Device's top 8 records of 2003:
- 8. Yo La Tengo - Summer Sun. A nicely laid-back collection of grooves from Yo La Tengo, and more than a worthy follow-up to And Then Nothing Turned Itself Inside Out.
- 7. Martin L. Gore - Counterfeit2. Covers of acts including Nick Cave, the Velvet Underground and others, done in glitchy, electronic fashion, with the characteristic Depeche Mode formula of aching humanity and cold electronics. Note: the Australian release is corrupt; the US release isn't.
- 6. Ninetynine - Receiving the Sounds of Science Fiction EP. A five-track taster of their upcoming album, available only through a singles club in the US. Has some good new tracks, though I still think they shouldn't have taken the guitar line out of San Pedro.
- 5. The Postal Service - Give Up. Indie synth-pop from Seattle; intelligent and well arranged, even if some of the love ballads may be a bit too perky.
- 4. Radiohead - Hail To The Thief. This could possibly have been album of the year, or close to, had it not been for EMI deciding to release only defective versions in most markets (the US being an exception). In any case, the set of MP3s leaked onto the internet prior to release was actually slightly better than the released version (for example, The Gloaming lost its third verse before making it to CD). NOTE: The Null Device does not advocate violating copyright laws.
- 3. Belle & Sebastian - Dear Catastrophe Waitress. The Glaswegian indie-pop collective's latest album, produced by Trevor Horn, and bouncing all over the place, from rock to pop to retro. A bit fey in places, but then again, you'd sort of expect that.
- 2. Minimum Chips - Gardenesque. Three tracks they recorded for SBS and a longish studio arrangement. Good, if a bit short. Maybe one of these years they'll record a full-length album?
- 1. Spearmint - My Missing Days. Spearmint probably have the best songwriting of any English indie band these days. Their songs are very much about subjective experience, and don't confine themselves to the usual romantic-relationship clichés that sell well, but cover other things, like accumulating too much stuff as one goes through life, or the process of really getting into a book. Their music is pretty good too, reminiscent in places of Pulp or someones.
(A number of albums were disqualified for not being available to the public in non-defective CD format; being available on import from the United States or similar was sufficient. These include albums by David Bridie, The Thrills and Client.)
First impressions of the 3 CDs which arrived in the mail today:
- Stereolab - Instant 0 In The Universe. The groop are back in fine form; this album follows on from their earlier material, in classic Stereolab fashion. Lætitia appears to harmonise with herself on one track, which works. This is more the jaunty Stereolab than the experimental Stereolab. No huge departures, though the last track does go a bit disco-y towards the end. I rather like it.
- Spearmint - My Missing Days - much like their earlier albums; spiky powerpop with Shirley's impassioned vocals. Some tracks have string arrangements; the songwriting is pretty good too.
- The Pastels - The Last Great Wilderness Only 24 minutes long, and most of it is short instrumental themes, ostensibly for a Wicker Man-style film. There's one song with Katrina singing, and a "sleazy electropop" track featuring Jarvis Cocker, which seems, at least to me, a bit bland.
The time is nigh upon us for the obligatory "top 10 albums of the year" lists (Graham already has his, for example). I'm not going to post my best CDs of 2002 just yet (for one, I'm still not through with all of this year's releases, and am still awaiting a particular consignment from Twee Kitten); however, I am going to do something related, that is, look at the lists for 2001 I wrote up a year ago, here and here, and see how they hold up a year later; which of my picks of the year have stood the test of time, which have fallen by the wayside, and which discs have emerged subsequently as favourites of that particular year. So please allow me this exercise in self-indulgent omphaloskepsis.
Firstly, the RAN list:
- New Buffalo, About Last Night. I'm still rather fond of this quirky little EP, though haven't listened to it much lately. (Apparently, Sally's off in LA recording an album with EMI/Capitol money. Hopefully they won't turn her into Danielle Spencer or Geri Halliwell or some generic pretty girl singer, though history doesn't give one many reasons to be optimistic.)
- Lush, Ciao! Best Of. Haven't listened to it, but have since then picked up the entire Lush back catalogue, plus some unreleased MP3s. Split and Lovelife still get played every so and so (in fact, I'm listening ti Split right now, and it was one of the discs I burned to CD-R and took to London with me.) As such, Ciao! has done its work admirably.
- Radiohead, Amnesiac. Still gets played every now and then; though of the Radiohead back-catalogue, OK Computer gets the most play around here.
- Spearmint, A Different Lifetime. Since last year, I've picked up their previous 3 discs as well. A Different Lifetime and its more baggy-oriented predecessor A Week Away would be my favourites.
- Black Box Recorder, Worst Of. Gleefully sardonic, and some of their best work (funny how B-sides sometimes tend to be that way).
- Prop, Small Craft Rough Sea. This CD still rocks. Groovy, cooler than cool and yet with powerful momentum.
- Radiohead, I Might Be Wrong Live Recordings. Haven't listened to this much over the past six months or so, though I prefer the version of Like Spinning Plates to the Amnesiac one.
(Of the honourable mentions, I've listened to the Angels of the Universe soundtrack and the Sealifepark album since. The Zero 7 album sort of got shelved, as I really only liked one track of it. Jan Jelinek's Loop Finding Jazz Records suffered a similar fate, having failed to hold my interest with its ultimately less than satisfying combination of deep-house-like rhythms and chords and Max/MSP laptop glitchery; and TISM's De Rigeurmortis lasted about one and a half listens. Oh, and as for the Field Mice best-of, that's still one of my favourites and is usually not far from the CD player.)
And now for the unsung favourites; the CDs that didn't make the list, but ended up redeeming themselves after further listening:
- A Silver Mt. Zion, He Has Left Us Alone But Shafts Of Light Sometimes Grace The Corner Of Our Rooms. Bleak, desolate, existentially despondent, and beautiful.
- Models, Melbourne: Their early tracks. The whole thing didn't grab me, but Party Girls and Atlantic Romantic are pretty cool.
- Mogwai, My Father My King: a 20-or-so minute wall of intense, immersive noise. Put it on, turn it up, and feel it engulf you. It's all good.
- Vivian Girls, The, The Vivian Girls: like a slice of dimly-lit early-80s post-punk claustrophobia; it's great, especially Black Chair In A Black Room. (To be fair, it probably slipped the list because it was released in 2000, but I think it still rates a mention.)
So there it is. Watch this space for the best of 2002.