Archive | 11:42 pm

REVIEW – Cceruleann: ‘Fucking Wind’ single, 2012 (“waiting to be wrong-footed”)

6 Jun
Cceruleann: 'Fucking Wind'

Cceruleann: ‘Fucking Wind’

In love and on the road: it should be sweet. Instead, you’re continually waiting to be wrong-footed.

First, there’s the music – electronic dream-pop of a multiple-nostalgic kind. The tune is balmy. The blipping synth lines, the crude keyboard beats, the hiccuping voice cut-ups are all from ’80s sample pop. That dazed, wet-gossamer female vocal and the smudge of stretched-out organ goo (swirling from speaker to speaker), draws inspiration from shoegazery and similar blissful-nauseous mid-’90s psychedelia. The puffed hints of melodica and the yawns of bass swim in from first-generation post-punk; or perhaps I’ve just been drawn into the dream, and am imagining them.

Then there’s the song itself. A girl in a car, savouring the moment, coos the simplest, most sugary lover’s line. “It’s OK, baby, don’t worry / ‘cos we’re driving with the summer breeze in my face.” That’s it. There are four more words in the entire lyric, one of which is “ethereal.”

Finally, lurking around the corner like a mugger-in-waiting, there’s that blunt instrument of a title. It’s already plastered all over the cover art. You keep expecting it to come down hard and smash the reverie. Or, alternatively, for everything to turn metaphysical and carnal as the gale hits, the cuteness ends, the car pulls over and everyone starts rutting in the back seat.

For something so light and fluffy on the surface, Cceruleann’s debut single throws up plenty of confusion. Even more subtext gets plastered in when you discover that the band are a brother-and-sister duo (instrumentalist Elliot, singer Marilyn). If I were you, I’d do my best to ignore that for now. In some ways, that’s easy to carry out: though moving together in musical step, Elliott and Marilyn sound as if they’re musing in different worlds. Along the way, some of Marilyn’s words are caught up and shredded, then tossed like happy litter in the wake of the tune. As for that title, it never arrives in the song. The f-bomb remains undetonated. Have they scammed us? Did they just get sick of their own song and punish it with a sarcastic name?

Or perhaps we’re looking in the wrong place. Maybe the real story is about the other person who’s out on that drive – perhaps listening to this endless burble of contentment and seething, their knuckles clenched white on the wheel or wrapped tight around the knees, wondering once again why it’s so impossible to see how another person sees, to feel their feelings, comprehend their tastes… even to understand how you can get through a single day of being with them anymore. Maybe the romance of the playful summer wind is lost along with that. As it teases and strokes at cheekbones, perhaps on the other side of the car it’s whipping petulantly at a cowlick; and while fringe blows aggressively into eyes, and as love heads into the sour spot for good, perhaps something vile is being muttered into that uncaring breeze.

Cceruleann: ‘Fucking Wind’
Holy Underground Recordings/Bandcamp
Download-only single
released 14 May 2012

Buy it from:
Bandcamp

Cceruleann online:
Facebook Twitter Soundcloud Bandcamp

REVIEW – Elephant: ‘Allured/Actors’ single, 2011 (“a slow jam that’s strayed”)

6 Jun
Elephant: 'Allured/Actors'

Elephant: ‘Allured/Actors’

“Oh, hello, / I’m a never-ever-let-it-show – / But I know that you know. / Maybe I should let it, let it show…”

On past evidence Elephant have a knack for drawing us in while admitting to little. Their debut single mingled dream-pop with reggae and industrial chill, and cold electronics with fairy-tale flashes. They ride on a solid understanding of black pop, yet constantly swerve away from it into Euro-cool whiteness. They readily confuse, and they excel in oblique feelings – perhaps they can’t help it. Amelia’s blank singing, their aloof and obscure post-punk textures, their taste for quick-cut lyrics and surreal, visual word-imagery… while their work so far is memorable, all of it’s a conundrum. Yet for a moment, on this second single, everything is clearer.

With only the subtlest indie-pop bleachings and dream-pop shadings, Allured is an R’n’B piano ballad: plain and simple. There’s the deep, minimal support of bass. There’s the gaps, space and swat of a heavy-lidded slow sex-beat; the sparse flick of tambourine like a shimmying skirt-fringe. Essentially it’s a slow jam that’s strayed out of the dance club in its heels and skintights, taken a wrong turning past the taxi rank, and been painlessly swallowed by Elephant’s dreamy way of doing things. In the video we watch as voyeurs as Amelia and Christian languidly nuzzle and smooch each other – lengthily, and uninterruptedly. Either they’re answering that “are-they-aren’t-they?” question that’s hung around Elephant since the beginning, or they’re very committed to the world of this particular song.

Whether Elephant have simply been infected by R’n’B’s outright and intoxicated sexuality, or whether they’ve swallowed it deliberately, is open to question. I suspect the latter. Few areas of twenty-first century pop haven’t rolled over and submitted to R’n’B’s sweaty vigour and its gobby, blinged-up sex’n’suss’n’opportunity confidence. While some diehard indie-poppers might still scream and scrub it off; or cling to older schools of soul, Elephant see a good thing and slurp it up, embracing and engulfing it in their turn. So here they are, reaching out greedily into the wide-open mainstream while happily sunk in obsession, drunk with sensuality.

Only the lyrics retain that peculiar Elephantine distortion. Amelia rolls the words around on her tongue, dabbing them with glottal stops and her own strange short-circuiting shifts of accent or syntax, whether wriggling into a tangled lick of coyness, circling orgasm (“our own anatomy, so I find the path – my brain / it carousels instantly, drives me to insane,”) or swimming in a stupor of surrendered identity (“I dreamt he’d written me… He took me away, crossed me away from the crowd…”) By rights, this clotted wordplay should cripple the song. Instead it lolls sexily across the beat, as if on the brink of falling out of bed.

Then the B-side – Actors – throws us right off the scent. Same old Elephant; entirely different set of clothes. Rather than the wallow of bass and beats, here are acoustic guitars on the strum, a skinny ice-rink organ, and a dose of fast-paced pop soufflé which chuffs around its drum track like a toy steam train. It’s a tune for people in mini-dresses to run around Paris to, or chase summer bicycles through Spanish Harlem. Once again, Amelia’s dazed delivery and tangled string of lyrics ensure that it keeps the Elephant stamp.

It’s anyone’s guess as to what she’s singing about this time – “hop around aimlessly, simply surrender to time. /Animations out past under the feet, imitating a shadow spine.” Somehow the words fall into place as she sings of paying the rent “with a monogram eye” or murmurs about “the highest apple in the tree.” Perhaps, like many of the best and sexiest club hook-ups, it’s just a happy accident.

Elephant: ‘Allured/Actors’
Memphis Industries, MI0193S/D
vinyl 7″/download single
released: 18th July 2011

Buy it from:
Memphis Industries.

Elephant online:
Facebook Twitter MySpace Tumblr Bandcamp

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