Let's Go: Remixed The Evenings It has to be a very trusting band to ask 15 different people to remix their songs. As a result of this trust, what is produced is a CD of extremes. There are some who have taken the instructions seriously and produced quite 'normal' remixes. On the other hand there are those whose tracks are just so wierd you have to question their understanding of the term remix. The finest example of this is Twizz Twangle's remix of Let's Go, which just sounds like Twizz switching between a copy of the Evenings' record and some r n' b records. Another interesting result of this project is how far the remixers have let loose their musical fantasies. The track remix by Lee from Smilex is immediately recognisable as it makes the Evenings' track into something that would be suitable for the Prince back catalogue. In fact, guessing the remixer is a game that could be played while listening to the CD. Another remixer that can be identified quite easily Sunnyvale Noise Sub-Element, whose remix is suitably dark and industrial sounding. The joy of listening to this record is in teasing out the bits of the Evenings' songs in amongst all the other bits that the remixers have thrown in. And also to see just how many ways a single track can be re-interpreted. The ambitious nature of this remix project means that not all the remixes work well. There are some that have cast a new angle on the Evenings' songs, but there are also some remixes that makes me reach for my unremixed Evenings CDs. The Evenings Freedom Road Records I'm Sorry, I'm Lost Ash Verjee This CD has a jumble of everything, from simple songs to tracks that wouldn't have been too surprising to hear in a lift in the 1980s. Not surprising when it turns out that the songs on this CD are the collected works of Verjee between 1998 and 2006. There are some pretty, simple orchestration on here, which makes the tracks stand out a bit more. However the tracks generally start with a good idea that never seems to be built on. Instead the songs will meander its way round, but never building to a climax, and just finish abruptly. One example of this is He's Her Cloud. Combining Asian influences and vocorder vocals, the first half of the song is promising. But then it carries on in a similar vein for a couple more minutes, and just when a different set of Asian samples are reintroduced the track fustratingly ends. All in all, this is a fustrating listen. At times you would want to push the songs on, to just do something slightly different or build up the arrangement, but instead it will carry on in its own scenic route around the course. Ash Verjee Freedom Road Records Lucky Lucky Pigeons Happy Birds Day Lucky Lucky Pigeons are trying to claim the indie-pop crown that was once held by Bis. Like Bis, they focus on speedy pop with catchy choruses and handclaps. But with a heavy reliance on the drum machine to provide the backing, they sound a lot more tinny. This is their only weakness, as the songs do come across as fun, but without a heavy bass end they lack that immediate impact. Lucky Lucky Pigeons Freedom Road Records Demo Beaver Fuel Listening to this CD is like entering the Beaver Fuel fantasy world, where Leigh travels as a space explorer (in the rather cute Sci-Fi Romance) or vents his conspiracy theories (Eurovision Political Favour Contest). The faster, more punk-pop tracks generally work better, as Leigh layers on the fuzzy guitars and speeds the songs along. While the slower songs lack that variety but shos his more sensitive side. For more information email: beaverfuel AT hotmail DOT co DOT uk Yosemite John Southworth Listening to the carefree nature of this album, you can just about imagine Southworth travelling across his native Canada followed by a troupe of cuddly animals. His songs yearn for those days when singer songwriters could just strum a guitar to fill up the spare hours of the day. The silly nature of some of his songs call to mind songs by They Might Be Giant. Similar to TMBG, Southworth can pick any topic and string out a 4 minute pop song about it. At the same time, this album also has the same feel as Jim Noir, in the simplicity and joy. However, an album worth of this material is a little bit too much. There is little variety in the styles between the songs, and by about halfway through the album the quirkiness does begin to tire. Taken at short periods of 4-5 songs at the time however, this album is perfect for the late summer evenings. John Southworth Double Dragon Music Brainlove 7" singles club No. 1 Napoleon IIIrd vs Pagan Wanderer Lu Napoleon IIIrd comes out as some wizard of sound. As he sings 'This is not my life, it's just my dayjob/the way I pay the rent', you can imagine him sitting in a corner of an office planning his next song. In his mind is a collection of beats, brass instruments and layers of vocals, and as they build up the chorus line turns into a defiant rallying call. It is hard to imagine that this the the work of only one man in a studio. Off the back of the vastness of Napoleon IIIrd, Pagan Wanderer Lu sounds a lot more twee, but still manages to out do the other song in quirkyness. But this song really is the story of two sounds, the different between the lush verses and the cute almost Bearsuit like choruses. The one thing these two tracks show us is that there is more to a solo performer than just performing with a guitar. It's great to see how solo artists can be innovative, and approach their music in a different way. Napoleon IIIrd Pangan Wanderer Lu Brainlove Records Tiny Knives For Tiny Minds The Half Rabbits The reoccurring theme throughout this EP is that of tension and darkness. While Michael Weatherburn sings in that unexpectedly deep voice of his, what really stands out is the bits between and underneath the singing. The lead track, 'These Rumours' sets the mood, with guitars working against each other slowing racking the tension higher and higher, building up to a final guitar battle at the end. This relentless approach continues in the rest of the EP. In the second track 'Someone's Coming', Michael begins to fight back, and ends up singing as if trying to escape from a trapped room (or the clutches of the rest of his bandmates). What ties the vocals and the guitars and all together are the remarkably strong songs. The bands that the Half Rabbits have often been compared to (Interpol, Editors et al) would have sold their souls for songs like these. If Interpol had this level of song writing, their albums would actually be listenable. So thank God the Half Rabbits have them instead. The Half Rabbits Punk Elvis Records

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