Papernut Cambridge - Channel Suite

Humour, emotion, introspection, music biz musings, and a ton of good tunes. Could this be the finest Papernut Cambridge album yet?

 

There’s a track on Papernut Cambridge’s latest album with lyrics that are basically a list of home recording tips. It reminds me of The Timelords’ (KLF) seminal book The Manual (How To Have A Number One The Easy Way). While The Manual focussed on artistic approach and finances, Papernut Cambridge’s song ‘Grimston Green Hustle’ zones in on how to achieve a strong coherent sound while making an album – volume levels, limiting, EQ, gain, continuity of sound, mastering, reducing “s” and “t” sounds, track sequencing, keeping happy accidents. It’s invaluable, demystifying advice.

“The Cambridge” has had a changing line-up over its ten-year existence. For this album it’s something of an all-star affair which includes Robert Rotifer, Robert Halcrow, Darren Hayman, Jack Hayter, and of course bandleader/vocalist Ian Button. Not only does band leader Ian Button possess the know-how of navigating a studio, but he also puts it to good use. Channel Suite was released on New Year’s Day and is packed with songs that in a justful world would be clogging up the charts and radio playlists. While the modern world may not always be fair and just, it does allow us to access a wealth of music on a physical format or streaming service of our choosing. With that in mind I urge you to check out Channel Suite. You’ll be in for a treat.

The record kicks off with ‘End of The Downs’, a heartfelt homage to the landscape and countryside near Button’s Folkestone base. Soft wind chimes give way to strident superpop not heard since the likes of Edison Lighthouse were regulars on Top Of The Pops. The track’s joy and optimism are rendered via an uplifting melody and series of key changes. ‘La Cucina’ is a similarly upbeat paean to the joys and trials of creativity. Ostensibly about cooking, it’s really about any creative endeavour, and addresses the rewards along with the constant re-evaluation and dedication they require.

There’s an opportunity to learn something here too - ‘Cassiopeia’ is about the star constellation in the northern sky named after vain queen Cassiopeia, mother of Andromeda, in Greek mythology, who boasted about her unrivalled beauty. (Yes, I did need to look that up on Wikipedia!)

My current favourite song on the album, however, is ‘Trip to America’. Such a journey, (undertaken for pleasure as opposed to business Button tells us in its lyrics), should be a joyful, exciting prospect, but here it’s sung about with a tinge of melancholia. Why that should be we don’t find out, but it’s this unexplained mystery that gives the song its strange power. “I can’t go there now wide-eyed like I did before” sings Button. Maybe it’s about loss of innocence, or loss of wonder. Whatever its subject matter, the song is curiously beguiling.

There are plenty more songs jostling for top spot though - ‘Chez Pascal’ showcases Button knack for sketching out characters. It’s a side of his writing that was given full flight on the recent Toni Tubna album. ‘Cobwebs’ is The Modern Lovers taking a drum machine for a short rejuvenating trip to the sea front. Then there’s ‘Jump in Your Heart’ – the closing catchy pop number complete with whistling. That song alone is enough to put a smile on your face and a spring in your step.

Pop music – just when you think it’s burnt itself out and can no longer inspire or move you, a record comes along to reaffirm your faith in its powers. Channel Suite is one such record. Humour, emotion, meta-music biz musings, atmospherics, some sadness, some introspection, and a ton of bloody good tunes. It may well be the finest Papernut Cambridge album yet.

 

For this release Papernut Cambridge are... 

Ian Button - vocals, guitar, bass, programming, percussion
Robert Halcrow - bass, baritone horn
Robert Rotifer - guitar, backing vocals
Darren Hayman - electric piano, synths, percussion
Jack Hayter - viola

 

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The Hootenanny Plays the Songs of Ron Ryan

Long overdue recognition for a hugely talented but little known songwriter!

 

We tend to forget just how popular The Dave Clark Five were at their peak. Considered serious contenders to The Beatles, the group was also at the forefront of the British Invasion, the seismic revolution that still resonates today. The UK's musical reputation owes much to the band's pioneering work. Not bad for a bunch of blokes from Tottenham. The band's leader was a canny businessman, retaining the rights to the back catalogue, along with the copyrights of the hits, even if hadn't contributed to the writing.

Many of these hits were penned by Ron Ryan, a friend of Clark's and the brother of Mick Ryan, the group's guitarist. Understandably, with Ron not getting the recognition or money that these hit records should have earned him, the relationship turned sour.

 A new album shining a light on Ron's work has recently been released by Think Like A Key Records. It contains a selection of unheard songs written by Ron over the last six decades, recorded with The Hootenanny, a band put together by drummer Jor Montague who became aware of Ron's work after featuring him on his podcast (That '60s Recording Podcast).

Recorded live to tape just like all those fab '60s sounds we all love, and featuring the superb lead vocals of Louie McDonald, it sounds like one of those great lost albums - packed with earworm choruses, nifty middle eights, and big on era authentic charm. Ron also joins in on one track, contributing a Presley-esque vocal to 'The Light'.

In addition to the Hootenanny tracks are several acetate demos that Ron recorded in as Denmark Street studio 1964 with his band The Walkers. Look out for tracks such as the piano-pounding 'I Have Love' and moody, brooding version of 'I Believe to My Soul'.

If, like me you have a fascination with the musical atom bomb that was contained within the 1960s rhythm & beat scene you might want to add this release to your Christmas list. Available on a 13-track vinyl LP or bumper 19-track CD. Track it down folks, and give some long overdue recognition to one of the 60's unsung heroes.

Click here for Think Like A Key Records website

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Congotronics - Where's The One?

Supergroup cross-genre sounds... and a thrillingly wild ride

Regular readers will know that we like music best here at HD when it's mixed up in the often incongruous and surprising ways. Purism has its place but there's nothing quite as exciting as when musicians collaborate across genres and create something new. A recent album that pushes all the right buttons in this regard is Where's The One? by Congotronics International, a collective that brings together some of the biggest names from the Congolese music scene together with respected indie rock acts from Europe and North and South America.The ensemble includes Congolese artists Konono N°1, and Kasai Allstars, US band Deerhoof, Argentinian artist Juana Molina, Swedish pop duo Swedish duo Wildbirds & Peacedrums, and Matt Mehlan from Brooklyn band Skeletons. Where's The One? has been years in the making, having stemmed from a series of live shows back in 2011. Back and forth remote mixing and production followed, eventually resulting in a lavishly packaged double vinyl album which finally found a release this year.

The album merges the Congotronics sound (ritual trance music + makeshift amplification system) with western indie sensibilities. The new musical shoots are sometimes jarring, yet always fused with a fascinating exceitement and energy. This is polyrhythmic, experimental, boundary-pushing music. It's the sound of musicians reaching out to cross continents and language barriers. I'd say this is one of the most thrilling and genuinely original releases of the year, a truly globalist sound, one that's alive and open to exciting new musical possibilities.

 

Where's The One? is available on CD or deluxe 2LP via Crammed Discs

Kevin Robertson - Why/D.C.B.A-25 (Ltd. 7")

 

 

The Byrds and Jefferson Airplane get a modern makeover on a new Fruits de Mer 7"

Seasons come and go, fashions and tastes change, but some things remain constantly awesome. A well-poured pint of Guinness, log fires in autumn, and quality time with good friends are all things guaranteed to lift my spirits. Other perennial touchstones for me include the music of the Byrds and new vinyl records. They're both things that I seek out whenever I'm in need of a mood-lifting boost. A joy then to hear this forthcoming 7" by Kevin  Robertson on the Fruits de Mer label, which features his take on The Byrds' song 'Why' as one of it's double A-sides. Kevin is the frontman of Aberdeen psych band The Vapour Trails but is flying solo on this vinyl release. His version of 'Why' is respectful to the original's tempo and feel and comes with wonderfully ripping psychedelic guitar breaks. Nice! I wonder of David Crosby has heard it yet. I'd like to think so.

The '60s revisited theme continues on the record's flip side with a cover Jefferson Airplane's 'D.C.B.A-25', a song about LCD no less. Now I'm not one to condone drug-taking, or indeed to condemn it. Whatever gets you through the night is alright by me, just make sure you stay safe folks! I have to confess that I'm not familiar with the original version, but Kevin's has plenty of 12-string jangle, harmony vocals, and hits the hotspot of slightly trippy folk-rock. And if you fancy having a go at the song yourself, the title gives away its chord sequence. How helpful is that! All in all this is set to be one of autumn's best 7" discs. The label has plenty more goodies on the way too, check out their upcoming releases via the links below.

Click here for Kevin Robertson on Twitter

Click here for the Fruits de Mer website

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Hooveriii - A Round of Applause

Hooveriii return with an album of uplifting psychedelic guitar pop

Los Angeles is a city which has given rise to some incredible music since the dawn of the recording age. It continues to do so, as I can confirm having recently had my ears turned towards LA-based band Hooveriii (pronounced “Hoover Three”). The band grew out of a bedroom recording project started by Bert Hoover (Jesus Sons, MIND MELD). The old adage about small acorns is apt here, as Hooveriii has evolved into a truly powerful psychedelic force.

Their latest album, A Round of Applause, sounds like a record that was fun to make, made by a band that would be fun to be in. A refreshing concept in itself! By the band's own admission, A Round of Applause is an unashamed attempt at making a pop record, forsaking the “jam band” approach of previous album Water for the Frogs. Anyone hoping their experimental edge has been smoothed away needn't worry. The album may be big on hooks and melody but there's plenty of left-field touches and sheer sonic brilliance to please listeners who like their sounds to lean towards the proggier, more experimental side.

The album opens with 'See', a twisted take on country rock with twin-guitar arabesques, rolling bass and mysterious lyrics. 'Out of My Time' is a sonic assault on the senses, edging towards industrial rock with its riffs and barrage-like driving drums, before sweet and stately guitar lines emerge from the sonic fog.

'Twisted and Vile' is the first showing of the album's promised pop thrust. It's a minor key affair, underpinned by a programmed electronic pulse, whereas 'Water Lily' has a frantic, unsettled feel at odds with the calmness invoked by its title. With a hint of math-rock in places it comes across akin to Marc Bolan fronting The Cardiacs. A nice thought indeed!

Elsewhere there's an alt-glam stomp to tracks such as 'Time the Outlaw' and leftfield electropop on 'My Directive', even some jazz quall courtesy of the saxophones on 'Iguana'. There's also enough to keep rockers on board. Guitar fans will surely be enthralled by the playing throughout which at times reminds one of Television's Verlaine and Lloyd, Will Sergeant of Echo and The Bunnymen, and Robert Fripp.

Sadly I missed the band on their recent short run of UK dates but hopefully they'll return soon. If that happens I'll see you down the front. In the meantime get familiar with A Round of Applause. You'll feel all the better for it, I guarantee!

 

 

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The Telephones - Prosaic Turbulence

Ring Ring! Psych-tinged indie from Derby's finest

While the country continues to go to the dogs it's heartening to know there are still some things that make me proud to be Englishman. Our politicians may be sadly lacking in talent but our women's football team have an abundance. And thankfully for us music lovers, so do our musicians. The latest group to confirm this is a five-piece group from Derby called The Telephones. The band's most recent album, Prosaic Turbulence, has been on pretty much constant rotation on my daily commute to work over the last few weeks. Here's three bullet points on the band to pique your interest...

1 - The tag-line on their Twitter profile bills them as “modern psych situationist rock 'n' roll” - a pretty neat calling card.

2 - All five members of the band are writers with songwriting credits awarded in various permutations.

3 - Like many of my favourite groups they don't have a fixed lead vocalist. I'm guessing whoever is the main writer for each song takes the lead vocal.

Their sound is rooted in post C-86, pre-Britpop indie. The latter of those chronological bookends is especially important I think - Pre-Britpop indie took inspiration from literature and left-field art and films. The mainstream indie that took hold with the rise of Britpop was more about laddism and lager. As much as I'm partial to a lager or two, I know which strain of guitar music I prefer, and I'm guessing The Telephones are of the same mind. The fact that their lyrics have depth confirms it for me, as does the name-checking of Leeds indie band The Pale Saints on one of the album's standout tracks 'Pale Saints Again').

There are also hints of The Byrds, The Stone Roses, and '60s psych on Prosaic Turbulence. Primary influences all well and good but it's the personal stamp on them that counts. Here it's the songwriting that impresses most, inhabiting that part of the Venn Diagram where sweet lyrical depth and memorable melodies overlap.

Prosaic Turbulence is streaming now, though if physical copies are your thing it's also available on CD or limited edition heavyweight blue vinyl via the band's Bandcamp page. Do check it out!

 

The Telephones are -

Andy Richardson – vox, guitars, bass, percussion

Jim Widdop – guitars, pedal steel, vox, percussion, keyboards

Rob Manners – vox, bass, guitars

Lee Horsley – Hammond, piano, electric piano

Tris Alsbury – drums, percussion

 

 

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Click here for The Telephones on Bandcamp