Billy Bragg recently made Bugg the fulcrum point of his John Peel Lecture; something we at TT consider apt due to Bugg’s similarities with Uncle Bill, albeit not in style but definitely in approach to song writing. They both share a social awareness which their generation can rally behind and an ingenious ability to write a love song.
Former single ‘Lightning Bolt’ gets the ball rolling on the social observation front and attacks the apathetic nature of Britain’s karaoke-game-show-loving millions by saying:
“They say you gotta tow the line/ They want the water and not the wine / But when I see the signs I jump on the lightning bolt”
With the album reaching Number 1 in its first week of release, the tide may just be about to start turning back in the favour of people like Bugg and produce a world where artists and musicians refuse the shortcuts and express themselves. In the words of Damon ‘It really really really could happen’.
Backing up ‘Lightning Bolt’ is a fine group of songs whose common denominator is escapism. In ‘Two Fingers’ he has the single of the year in our view. Every era of youth should have a song like ‘Two Fingers’ to unite behind. Many Arctic Monkeys comparisons have been made and far too many of the negative. This is not a rip off or rehash of an Alex Turner song but simply inspired by him, along with the Kinks, early Weller and early Townshend records.
‘Seen It All’ is another one of those songs which sees Bugg in an escapist mood. The intro fades in like Oasis b-side ‘Rockin’ Chair’ and shares similar narrative themes of looking back at a town which bears little relevance to the journey the writer wishes to be on. What separates the two is the perspective they were written from. Noel was writing in his late twenties about a life which seemed to be passing him by (he soon caught up, all back to Supernova Heights anyone?) whereas Bugg clearly has life by the scruff of the neck already and is reviewing the brutal nature of what stands in his way.
Then there is the other side to Bugg. The sweet sensitive side which will make the women fall in love with him and the men wish they could express themselves like him. ‘Simple As This’ will have Ryan Adams losing sleep for weeks wondering how he never wrote this song. On the surface, it is a beautiful Dylan-esque lullaby but scratch a little deeper and you realise Bugg is on the verge of discovering the key to happiness in this world. How the hell can someone so young be so wise? We recommend you don’t dwell on this question and just marvel at a young man who has the world at his feet.
Billy Bragg’s use of Bugg in his BBC6 lecture signifies a glorious handing of the baton (albeit an overdue one) from one generation to another. Bugg’s debut has TT bringing Bragg’s debut album ‘Life’s A Riot With Spy vs. Spy’ to mind with its triumphant displays of social observation and tales of love, often unrequited. The growth of Bugg as a songwriter has TT salivating but for now he is not looking for a new England, just looking for another girl.
6. Moon Duo - Circles
Many of you may recognise Moon Duo’s vocals, and you would be right to as they are Ripley Johnson’s, the terrific singer from Wooden Shjips. He has teamed up Sanae Yamada to make Moon Duo’s second album ‘Circles’. If ‘Circles’ is as good as Moon Duo get they can grow old knowing they have created something magical.
The notion of a concept album often makes TT wince and cross the street immediately. The Who’s ‘Tommy’ can still produce bile and a month of nightmares with just 3seconds of airtime. So, imagine our surprise at falling in love with an album which is based on a 19th century essay. Thankfully though, the essay ‘Circles’ by Ralph Waldo Emmerson tackles the transcendental nature of the human condition and how many strive for greatness. As concepts go, attempting to become immortal via music is alright by TT.
Musically, ‘Circles’ is not a million miles away from their debut ‘Mazes’ but the production is a lot sharper and in sections Yamada’s guitar playing makes ‘Mazes’ look like he just wasn’t arsed . The closing guitar solo on ‘Dance Pt. 3’ is a prime example. If you imagine Black Rebel Motorcycle Club ditching their leathers and dropping acid then your half way there to knowing how mystical his guitar sound is.
‘I Been Gone’ on the other hand lends itself to the current crop of noise-rock bands of this world. It is more direct than Deerhunter’s ‘Desire Lines’ and far more accessible than Autolux’s ‘Audience No.2’ and as a result establishes a sound which begins to define those perfect moments on ecstasy or MDMA where the music aligns with your emotions.
‘I Can See’ is one of those tunes which makes you feel like you’re on tip toes at a precipice wanting to take flight but you never quite jump off. It holds you in a suspension which will have you scratching and clawing your way back to the start of this song to relive this intense pleasure.
No noise-rock/krautrock album would be complete without an 8minute epic and in ‘Rolling Out’ they have just that. ‘Rolling Out’, from start to finish captures the greatness they have striven for beautifully. The drums and bassline provide a platform for Yamada to take his guitar for a little walk, and on occasion end up in 17th dimension causing havoc. It really is that good! The guitar parts are similar in sound to Richard Hawley’s on ‘She Brings The Sunglight’ but with one notable difference. Hawley used classic song structure to get to a guitar solo and as incredible as it is when you listen to ‘Rolling Out’ you might not bother with it anymore.
’Circles’ is a gem and will undoubtedly have given Kevin Shields wet dreams about this album and give McGee the knowledge that a return to the music industry is indeed the right move. These guys are exactly what the music scene needs, two insane visionaries who couldn't give a fuck!
No comments:
Post a Comment