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"?)
Inconsistent letter spacing? Don't you understand that the non-angular and non-regular typeface is vastly important when dealing with the forces of the Mythos?
"Do not ye raise up that what ye can not put down"