Sinister: There's too much content to go around these day-ays

[Mark Casarotto]

A slightly irritated mail for you all this morning. Harrumph.

Stuart David is a slacker indeed - but his job IS to please us. He's a
musician, that's how he earns his money, so he needs to make records people
want to buy so that he continues his career. Is that trite enough? If, as
the bald facts seem to suggest, he cancels his tour because he can't be
arsed, then I reckon people do have a right to be pissed off with him - not
only the bookers, organisers, publicity bods and assorted corporate hos who
have been dicked around, but the fans who have been let down. Perhaps he has
better reasons that he's not revealing - though it's not exactly out of
character now, is it?

Rachel, as I have moaned before, yes we do have a pound sign. Isn't that
strange, it being our currency and all? Grrr..

The reviews are coming thick and fast - here's my tuppence'th. Fell free to
ignore, as it's not very interesting.

The new album has its moments, but didn't exactly surpass modest
expectations. It has the ...Arab Strap mishmash of fabbo songs, nice songs
that make you grin in an understated way, and then the disappointments. I've
listened to the album about 40 times over the last 2 months (not a boast,
just an attempt to put my comments into context), so I think my feelings
aren't going to change all that much in the near future.

So, starting from the poorer end of the album in a top ten countdown
stylee...

Nice Day for a Sulk is filler - a half-finished idea, a couple of nice
sounds, tossed off with suitably diffident lyrics. I agree that Stu's voice
is a little grating here, unlike in Slow Goatherds, where it's "soaring",
"iridescent", whatever you like really. Beyond the Sunrise is a travesty -
it's a Gentle Waves song with an ego, and should have been exiled to side 2
of Isobel's forthcoming opus, which I am genuinely looking forward to.
Unfortunately, more than anything, it ruins the concept of this record as an
Album in the anal record collector "organic" sense. It's just not a Belle
and Sebastian song.

Dastoor, although a lot of what you say is spot on, I fear you're speaking
arse about I Fought in a War It just doesn't do anything very interesting.
It's pleasant, like Rollercoaster Ride is pleasant, like Mayfly is pleasant
- they're all B&S on autopilot, winsomely going over old ground but not
developing or surprising. It's PREDICTABLE. Shame. Don't Leave the Light on
Baby *may* grow on me - I do like it a lot, but it's not something that
works for me all that well. The music is always 90% of an album for me
(though bands like B&S make things so much better with fantastic words), and
DLTLOB, while it does mostly work, isn't what the band do best.

The Chalet Lines is a lovely little song, and even those who feel
uncomfortable with the content must feel that it's a brave and different
tack for Struan to take. It's not a departure musically, though - in fact,
it has an almost recycled feel. Waiting for the Moon to Rise is a really
nice (and I'm using that word carefully) ditty, sung with charm, but it's
not the work of a mature songwriter, and though it gets good marks and lots
of encouragement ("Sarah has made a lot of progress this term"), it's not a
great deal more than Sarah's first step to what could be a very interesting
writing career.

Stevie's Wrong Girl is a lovely if limited song, simple, warm and
satisfying. However, it also represents my biggest tangible problem with the
album - the over-proliferation of uncharacteristically soulless strings. I
would normally react against comments like the one I'm about to make, but I
feel a bit betrayed by the fact this album is B&S plus session musos, when
part of their charm previously has been the fact that, even if they're not
the most gifted, they've always played the instruments themselves
(trainspotters need not point out that their mum's mate's cousin played
second triangle on Slow Graffiti, you all know what I'm getting at), and
have worked within their limits to craft genuine 100% Belle and Sebastian
songs. The inevitable outcome is either a stage filled with dubious
40-somethings with ponytails and girls in little black dresses, or songs
which sound weedy and half-arsed played live. Now I come to think about it,
this has happened before, with the brass section in Dirty Dream. Which,
unfashionably, I have always been a bit disappointed with. Could there be a
connection?

Family Twee (ahem) is fun. I can well believe Stuart wrote the music - back
to the old skool of simple, naïve songwriting a la "Belle and Sebastian".
But the lyrics? They're insecure and often fail to make the point obviously
intended - mawkish is the best word I can think of, though I know Tim
Hopkins has a few choice suggestions of his own about the lyrics. I suggest
you read his version, as he'll put it more eloquently (and angrily) than me.
Bel's singing is standard Bel - no complaints, but it doesn't really push my
buttons. Though she does seem to be denying she's a profiterole.

So, the best three for last. Apart from some people having issues with
Woman's Realm, this seems to be the already-accepted triumvirate of cracking
tunes. Woman's Realm is actually my favourite - have they ever written
anything more singalong (and the chords are none too tricky either)? I'm
still uncertain about the strings (see above), but it's joyous, funny,
bouncy and boppy. Ideal dance music.

The Model, for me, underachieves. I think the opening is actually a slightly
subdued Century of Fakers, which isn't a favourite, and though the vocal
line is as swooping and swooning and fantastic as anything they've done, the
backing tends to be paper thin until the musos bulk it out. But these are
small complaints. It's smashing. It's just a pity it didn't become their
crowning achievement as maybe it could have.

And Too Much Love, which in my raddled memory was the focus of much of our
earnest ruminations round Juicy Lucy's, is grate. And great. The chorus is a
wee bit weak, but then demanding perfection from a band who've made a career
out of their imperfections is a bit harsh. Otherwise, belle and Sebastian,
top marks. Have a sweetie.

Overall - not in the same league as Tigermilk and Sinister, but working hard
in the division below along with Arab Strap. Shame it's so bitty, but the
New Democracy within the band is obviously something they find inspires
them, and if we need a Beyond the Sunrise for every Woman's realm, I'm happy
to make the compromise. I can't say I agree with Nick's tracklisting, though
- how depressing to get to side 2 and know that all but one of the best
songs has already gone? Just dump Sulk and Sunrise and I'd be happy.

There. That's all.

Dave, for what it's worth, B&S have previously made videos for fun - Is it
Wicked not to Care, for example (and it's just as embarrassingly fey as
you'd imagine, though it does include a Stuart David FORCED to wear a badge
with Belle and Sebastian written on it in a yellow star of David stylee) -
so I wouldn't worry too much about it being singlified. 

Enough? God yes.

Markx

p.s. Nick, I hope you don't think I'm having a go at you personally - your
review, like all great journalism, both inspired and riled me into
responding. A result, I'd say :-)



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