Much as my alternate weekends are never far from Rugby Park, so too at Plain Or Pan are you never far from a few words on the Trashcan Sinatras. Their rusty yet trusty engine cranked back to life at the end of last week, not only in preparation for a 30 date acoustic tour of the States that, as you read, is a couple of shows to the good, but also with the welcome announcement that a mere 16 years after first releasing it, they’d finally be releasing Weightlifting on vinyl.
Oft-considered the jewel in a particularly sparkly crown, the news of the band’s 4th album’s arrival on the format it truly deserves has Trashcans fans all in a lather. In typically awkward Trashcans’ style, it’s only available at the US gigs or via the band themselves, where postage from America to Scotland will cost almost as much as the record itself and might take as long as November until it lands at your door. Quite which November it can be expected wasn’t specified by the band, but, y’know, very good things come to those who wait. It’s been ordered, of course…
Another surprising announcement was the news that a new rarities and outtakes compilation was available. A companion to the long-released (2003) and out of print Zebra Of the Family collection, this new 2nd volume gathers demos and sketches from the Weightlifting and In The Music eras. Generally, a time of chaos and uncertainty in the band’s history, the demos nonetheless reveal the Trashcans’ ability to write majestically in the face of disaster.
The Weightlifting material in particular reveals a band demoing songs that are fully formed and requiring little in the way of tinkering and tweaking come the time to record them properly. Are they superior to the released Weightlifting versions? Of course not, but there’s a raggedy-arsed beauty to tracks viewed in the half light of completeness.
There are a couple of goes at Leave Me Alone, the first featuring slightly altered lyrics and titled, tellingly, Leave Us Alone. Recorded in the middle of bankruptcy claims and enforced studio sales, it’s a well-named, world-weary tune that sighs the collective sighs of a band on the very edge of disintegration.
Yet, somehow, as they always do, the Trashcans pulled through. Finding themselves in Hartford, Massachusetts, they set about writing the bulk of the Weightlifting material. There’s a terrific version of What Women Do To Men, all delicate keyboard stabs and atmospheric up-the-frets bass, where the released version’s slide-into-the-stratosphere six-string trickery is replaced by feral distorted guitar and a bucketful of reverb, the pathos of the lyrics matched by the howling intensity of the band cutting loose behind. God knows exactly what those women did to these men, but it’s a cracker. Magic, even.
Trashcan Sinatras – What Women Do To Men (Hartford sessions)
Elsewhere, there are spy through the keyhole takes on the wonderfully lush Usually, a track that’ll forever be in most Trashcans fans’ top 5, the plaintive and perfect Country Air and Astronomy, a rarity previously available only as an extra track on the Japanese release of In The Music. A welcome addition, it may well be the first time some long-time fans have heard a studio version of a track that was something of a live favourite back in the day. Sadly, frustratingly, the band has missed a trick here. I’m sure I have on tape a version of the track from many moons ago that featured Frank and not John on vocals. Maybe I’m wrong though. Or, maybe, in typical Trashcans’ fashion, it’s just lost to the ether. A minor quibble, and one that’s instantly forgiven when you hear what’s just around the corner…
Best of all is new track The Dirge.
Normally, you might approach a song with such a title with mild trepidation, expecting funereal, mournful music, a wade through sonic treacle wearing iron boots. This Dirge is anything but.
Trashcan Sinatras – The Dirge (Hartford sessions)
Long, slow and elegant, it creeps up on you with guitarist Paul Livingston’s low key, low register vocals before unravelling into the kind of track you’ve come to expect of Super Furry Animals at their most melodious and Wilson-worshipping best.
There’s chiming electric guitars, tinkling percussion, unexpected chord changes and textures. Wah wahs waft around the chorus while melodies and counter melodies weave their magic. It lifts, it drops, it soars. Is that a brass part playing low in the mix midway through? And a female vocal? It might be. It should be. Normally when bands throw the kitchen sink at songs, the results are a cluttered and unpalatable dog’s dinner. But this? This is stoned immaculate.
From first listen to current, I’ve heard it in my head sung only by Gruff Rhys. Nowt wrong with that of course. If you’re going to write slow burning songs of beauty, who better to channel whilst in the middle of the creative process? Quite how The Dirge never made it out of the studio is beyond me. Weightlifting is a perfect album, but it wouldn’t have been out of place on it in the slightest. It pays to stick with the Trashcans if they’re going to throw out wee gems like this once in a while.
Catch the Trashcans on tour right now. And head over to the shop at trashcansinatras.com to order your copies of Weightlifting and Zebra Of The Family 2.