Every music scene, no matter sound or style, genre or geography, has its local heroes, names that ripple on down the ages in anecdote and music mythology, through their own sonic contribution and via less tangible methods of influence. But few can claim the sort of legacy that the West Midlands does with Nikki Sudden, Epic Soundtracks and Dave Kusworth, local legends that went on to conquer the world…well, one small part of it at least.
Okay, they might not be household names, but in certain realms, especially that of the sleazy, bluesy singer-songwriter, they are sonic gods, not only releasing a stream of critically, if sadly not commercially, acclaimed music via bands such as Swell Maps and The Jacobites, not to mention three fantastic solo careers, but also serving as musical touchstones for everyone from REM to Pavement and from Stereolab to Dinosaur JR.
With these three awesome amigos, no longer with us, another sonic trio now pays tribute to the men and their music: Mark Mulholland, Joe Armstrong, and Stéphane Dourcerain have long woven in and out of the story, shared stages, and played extensively with the holy trinity since the 90s.
These gentle reimaginings start with a slightly slower, slightly more growling, slightly less chaotic take of Swell Maps ‘Midget Submarines’, setting the tone for an album that celebrates a vibe, an attitude, an approach, rather than merely reciting the songs. But then it was always about making the music in the moment and moving on to the next thing, so this is a perfect approach. Laurels were never to be rested on; horizons were always to be explored.
‘When Angels Die’ reminds us of the ragged romance, the tragic beauty and mournful melodicism that beat at the heart of Sudden’s music; ‘Aeroplane Blues’ is the missing link between The Stones and Dogs D’Amour, and songs such as ‘Kings and Queens’ and ‘The Last Bandit’ remind us how surprisingly tender their brand of rock and roll could be.
And I do love the way that ‘Chelsea Embankment’ is sonically broadened here – the keys adding grace and grandeur, the song just as melancholic but now more majestic, anthemic but in an understated sort of way…if that is possible.
What a perfect tribute to the songs and the players, a heartfelt celebration by those who were at the heart of that swirling scene when these songs first saw the light of day, and a gorgeous reminder of the intimacy and ecstasy, the sense of love and the longing, of innocence and often tragedy that these three extraordinary and often unsung heroes wove through what might at first appear to be the simplest of songs.
