Finally we’ve crawled to the end of the letter L… and all those Lucksmiths albums. It’s been a long arduous journey. We started back on January 1. Forty or so reviews in 6½ months isn’t very impressive is it? But that did span several countries. It also spanned the usual diverse range of artists. Looking at the resultant rankings, it would seem lighter indie pop won out, although soulfulness is as valued as always…
- Lemonheads – “It’s a Shame About Ray”
- The Lucksmiths – “What Bird Is That?”
- The Lucksmiths – “Happy Secret”
- Bettye Lavette – “I’ve Got My Own Hell to Raise”
- The Lucksmiths – “A Good Kind of Nervous”
- The Lucksmiths – “Why That Doesn’t Surprise Me“
- The Lucksmiths – “The Green Bicycle Case”
- Bettye Lavette – “The Scene of the Crime”
- The La’s – “The La’s”
- Love Me – “Love Me”
- The Lemonheads – “Come on Feel the Lemonheads”
- LCD Soundsystem – “LCD Soundsystem”
- The Liquor Giants – “The Liquor Giants”
- Ray Lamontagne – “Till the Sun Turns Black”
- Led Zeppelin – “Led Zeppelin IV”
As has become tradition, here’s a “L” track that didn’t get a review, but is an old fave of mine:
A week’s a long time in football, and like dog years, in music-reviewing time a day is the equivalent.
While Naturaliste drew analogies to a tired, lacklustre football performance, this follow-up sees the band burst back on to the field with much-needed enthusiasm and zip, suggesting perhaps we’d experienced merely a Hiccup in our Happiness.
Horns are blown, babababas abound and I feel much…well…warmer.
The first three tracks on this album kick goals with welcome energy. Sure there is less experimentation, but I don’t mind. I’ve become the fan who wants to see the same old routines.
Well, I do for the first half. But by the time we’re done bragging about knowing folks in San Francisco, I’m starting to get a little restless again.
After the (very delightful) twee² of Sunlight in a Jar, my teeth are starting to ache from excessive sweetness, and I yawn distractedly through the subsequent five tracks.
When all looks lost, up pops a closing track that ticks most of the ‘should hate this’ boxes (under-structured, no chorus, indulgent phrasing, glowing references to hipsters at parties with tattoos), but which I find mesmerising – Fiction. As a final instalment to my extensive Lucksmiths odyssey (I didn’t buy their last two albums) it is a wonderful surprise twist in the tale:
File under: Thanks for the warm fuzziness
I spent a very chilly and depressing afternoon yesterday at the Melbourne Cricket Ground.
I was there to support my football team of choice as they took on the powerhouse club de jour. We started well, in the sense that we scored first… but this was a false dawn, and the game was soon a massacre. I was left disappointed and disheartened.
Listening to this 2003 album sees me follow a similar trajectory. The album kicks off in a promising fashion. Camera Shy is one of strongest tracks from the second half of the band’s discography, with intriguing pacing and some deft writing (and a nice word of the day – heliolithic).
Soon, however, we are in a mess of mis-kicks and poor decision-making . The band gets bogged down in mundane variations on their least interesting, soporific balladry.
Beyond the somewhat promising Sandringham Line and the borderline sh*t- sibling Midweek Midmorning (possibly Darryl to T-Shirt Weather‘s Wayne Schimmelbusch), there is little to redeem this afternoon on the paddock.
To keep this awkward analogy going, this album should be seen as a one-time powerhouse team whose game-plan is looking stale and old hat trudging through a season with too little of their old spark and passion.
File under: Time for a clean out?
This is the 7th album in the Lucksmiths’ discography.
It isn’t a ‘real album’, however. Rather it is a collection of singles etc from a three-year period.
As such, it’s a surprisingly coherent opus, with a fuller band sound, greater use of horns, organs and other non-stringy instruments. To those who remember the simpler, early days this does mark a point where competence and musicality overwhelmed the sense of playfulness and ad-hockery we’d grown used to.
The world of ‘twee indie pop’ is really several (not mutually exclusive) sub-genres of the (i) low-fi/ anaemic (ii) brash acoustic powerpop (iii) layered and lush and (iv) the outright pretentious.
I would argue that the Luckas typically steered clear of (i) and (iv), but certainly shifted away from (ii) (to (iii)) over time. It’s a shame but understandable. Their last gasps of unashamed pop are wonderful – see T-Shirt Weather:
The more tranquil tracks are still admirable and catchy takes on nostalgia (Cassingle Revival, I Prefer the Twentieth Century), boardgames (Even Stevens) and domestic roadtrips (Southernmost, Great Dividing Range).
Moving further and further away from the band’s last live efforts, I’m surprised how languid and loungey their albums feel. The urge to sway is defeating any memory of dancing and jumping… the passing of youth?
File under: Milestone or millstone?
Patient readers, I am alive, but lazy. Here’s my first review in over a month!!
In the very early days of courting my eventual wife, I purchased her this CD. Thankfully she liked it, as I was very into it (and this band) at the time.
As an intro to the band, this album works well, as there are still hints to their earlier playfulness and punnery.
Self-Preservation is poppy gold that certainly worked as an anthem for our burgeoning relationship. And in terms of wordsmithing, this could Marty Donald’s finest moment: “why don’t you let go of your boy and see you’ve lost none of your buoyancy?” (Synchronised Sinking).
This is principally a slow, delicate album, with few bursts of energy (it probably marked the point when their gigs become a lot more about swaying than jumping around). At its best, this style is mesmerising, such as on the heartbreaking heroin tale First Cousin. At times in can be a little too twee and dull however.
In the end, the high points of this album far outweight the more meandering. If you kicking of a romance in the coming weeks, feel free to copy my strategy and pop this in the mail for your suitee…
File under: Coquettish?
I’ve never found there to be much of a correlation between the length of an album and it’s quality. If anything a meandering album is often a sign of miscalculated confidence or an inability to cull.
This is perhaps the shortest of the Lucksmiths albums, with only ten tracks over 27 minutes. And it’s songs weren’t even conceived or recorded in an album setting (collecting as it does songs from singles, b-sides, and a couple of compilations), yet it is close to their strongest release thus far.
Gone are all allusions to literature and history, with the songwriting focused on the everyday, on seemingly effortless wordplay, and on a diversity of song structures (yet devoid of too much noodling).
The album opens with a classic exercise in all the above-mentioned arts, with the punny title Untidy Towns:
What follows are tales of depressed friends (Pin Cushion), in depressing jobs (Edward, Sandwich Hand), who leave housemates hungry (The Art of Cooking For Two), but who have excellent driving skills (A Great Parker).
I’ve always delighted in the rambunctiousness of Beer Nut, and imagine being scribbled from within a cracking hangover.
I enjoy this album as a rainy afternoon listen (and have enjoyed seeing some snowflakes out my window during this review).
File under: Tell your friends
If ‘...Bicycle Case‘ and ‘What Bird…‘ were the albums where the Lucksmiths seemed a little over-involved in British history, then this album could be seen as the album where the band graduated to more contemporary content.
Sure, there are still a book-ish track (World Encyclopedia Of Twentieth Century Murder), and one imagining of British prison widows (Train Robbers’ Wives), but the rest are wonderfully ensconced in the inner urban milieu.
These are songs about parks (Under the Rotunda), entendre (Little Athletics), and disappointing incompatibilities (Punchlines) – each strong tracks that are infectious in a more subtle and longlasting fashion than much of the band’s more direct earlier work.
This is also an album with two standout travelling songs – both more bittersweet than is typical for this topic. Caravanna captures the melancholy of craving change and movement, but also drifting apart:
Guess How Much I love You is an unembarassed ode to the travails of separation with some great imagery and aching sentiments.
The album is diluted by a couple of weaker tracks that prompt me to skip most times (Up, Columns of Steam), but still stands as one of their strongest efforts.
File under: A Good Kind of Tweenessness