Misfit City

Badly Drawn Boy: ‘Disillusion’

The Boy – Darren Gough, when he’s out of uniform – positively thrives on that kind of early Beck slacker/random “just rolled out of bed and made this record” image that wins over the crowds of reluctant punka-monkeys, for whom professionalism’s a suspicious word at best. Doesn’t change the fact that his last single (Once Around the Block) sounded suspiciously like that Latino swing that used to punctuate ‘Sesame Street’ and made you want to check if he had an Astrid Gilberto LP hidden under his battered old mixing desk underneath all the crumpled tape and cigarette butts. Most of the similarly-touted Manc alt-rockers Doves back him up on this one, and guess what? it does sound like a slightly crumpled take on mid-’70s soul-pop. Sort of like Hall & Oates refried for that crate-digger’s Latin funk angle plus a New York thrift-shop feel.

 
I like it – it’s hard not to enjoy all those vintage sounds bouncing up and down together like a smiling, sweaty block party – but it’s becoming a little difficult not to see Badly Drawn Boy as a lovable cottage-industry faker of slightly worn urban folk. Or as someone who likes smudging his own messy fingerprints on the records in a ‘Mojo’ buried-treasure box. OK, perhaps I’m being a little unfair. Bottle of Tears seems to restore your faith in the boy Gough’s image – a slightly Beta Band-style stoned skiffle, loaded up with boo-bams and other things that go clonk and with all the recording levels cheekily whacked up to a crunchily chewable wall of treble. There’s a bit of hoodlum science on the menu too. Wrecking the Stage is a yobbish rockabilly riff slamming headfirst into some sampler boffin’s cut-up experiment, so you get to hear big stoopid guitar and drums duking it out with primitive electronic froth and a colossal roll of psychedelic bell tones.

 
There is some kind of split genius here – on the one hand, for postmodern pop pastiche; on the other, for mating cheery tunes with outrageously back-to-front “who gives a fuck?” production. But as regards that carefully-constructed image of the lovable neighbourhood eccentric stumbling brilliantly into music, the game’s well and truly up. There’s a mainstream pop talent here dressing down for effect; and if he’s trying to disguise that with silly hats and goofy chuckles, methinks the Boy doth protest too much.

Inter: ‘Radio Finland’

 
The venomous sideswipe of You Lose shows they can still muster simple brat bile when they want to: perhaps when they hit the big time they’ll’ve gone full circle and gotten all naive and sellably arrogant again. But You Can Always Depend On Me, brazening out the confessions of a self-aware blunderer, suggests there’s fat chance of that – “I’ve wasted my potential trying hard to sound too sincere / and I don’t wanna get myself in deeper saying things you don’t want to hear / …I’m way too shameless to ever get it right.” In Inter’s songs, pop bursts out in tuneful flash-flowers of ballsy resistance. The good new is that even if they have rooted their sound in The Wonder Stuff, they’ve also matched the Stuffies’ tuneful urchin aggression and cracklingly sharp lyrics too. Nice to see a set of heirs that don’t let the old firm down for once.

Porcupine Tree: ‘4 Chords That Made a Million’

At the root, ‘4 Chords That Made A Million’ still stomps along with big mainstream boots on. But the sound is something new for them: aggressive raga-rock riffs with guitar wails like huge bloodstained battle-axes and a brutally cynical adventurist swagger to it that’s more ‘Definitely Maybe’ than ‘Wish You Were Here’. The effect’s a sort of explosive post-Anokha heavy metal: laden with tabla lines and drones, and with Richard Barbieri spurting out dirty synth lines like someone spunking up into a pot of orchids. The subject matter’s the one thing that unites arena-rock and punk lurkers – that standard disaffection with the biz. “Another moron with a chequebook / will take you out to lunch, who knows? / He will tell you you’re the saviour / and then he’ll drop you like a stone.” Mind you, what does it mean when you’re writing lyrics about the futility and emptiness of arena-rock and you then do your level best to set them in a full-on mosher of an arena-rock crowd pleaser? Has Wilson gone all Manic Street Preachers “we’ll have our cake but claim we’re dieting” on us, all of a sudden?

 
The B-sides are more familiar Tree twiglets. Disappear is almost unplugged, Wilson’s lazy swirl of flyaway harmonies, licks of luscious sombre wah and the blissful final surge of organ, Mellotron and drums notwithstanding. And it’s another fame story, this time the tale of someone wilfully giving up on the threshold: “I gatecrashed parties and just stood and stared / I moved to London and stayed in all year… / You’ll be famous and I’ll disappear. / I erase myself again.”

 
In Formaldehyde sounds like one of Radiohead’s disintegrating nearly-ballads fed through Camel: a lovely, helpless, descending Wilson melody to match the boring, frustrating pain of a decaying love. The sonic decorations, an enchanting swirl of dulcimer scratches and NASA blips, enhance a prime piece of trademark Porcupine Tree gliss-guitaring sky-glide. But while back in the ’70s this kind of psychedelic lament would’ve accompanied spliffed-out stargazing, here it’s soundtracking the miserable chill that settles into comfy middle-class apartments as they crumble into broken homes and even the drugs become unsatisfying toys. “Dust in the kitchen – coffee pot, microdot. / Now we are constant: / talking less, breeding stress.”

 
Perhaps it shows just how everyday the psychedelic has become today (with an acid trip in every other advert), but it also shows that, whatever spaceman noises and Big Rock Issues Porcupine Tree want to play with, they can still bring themselves off the spangly podium and home to the heart when they need to.

Badly Drawn Boy: ‘Disillusion’
XL Recordings/Twisted Nerve, TNXL005CD (6 34904 10052 0)
CD/10″ vinyl single
Released: 3rd May 2000
Get it from: (2020 update) Original single best obtained second-hand; Disillusion appears on the debut Badly Drawn Boy album ‘The Hour of Bewilderbeast’.
Badly Drawn Boy online:

Inter: ‘Radio Finland’
Yoshiko Records, YR 002 CDS002
CD/7-inch vinyl single
Released: 8th May 2000
Get it from: (2020 update) Original single best obtained second-hand; Radio Finland appears on the lone Inter album ‘Got My Nine’.
Inter online:

Porcupine Tree: ‘4 Chords That Made A Million’
Snapper Music/K-Scope, SMASCD111/SMAXCD111/SMAS7111 (6 36551 21112 3)
CD/7-inch vinyl single
Released: 2nd May 2000
Get it from: (2020 update) Original single best obtained second-hand: ‘4 Chords That Made a Million’ is included on Porcupine Tree’s ‘Lightbulb Sun’ album, while the others made it onto the ‘Recordings’ compilation.
Porcupine Tree online:

 

Tags: Badly Drawn Boy, Chris Maitland, Colin Edwin, Inter, Porcupine Tree, Richard Barbieri, Steven Wilson