Lockdowns. Lock-ins. Low downs.
Strange times abound. You’ve probably been working from home the past week or so, perhaps sat at your makeshift workspace in a pair of two days-old underpants, your face and razor no longer on speaking terms. Yes, perhaps even you, ladies. Maybe too there’s a chalky white toothpaste trail down the front of your t-shirt, the one you also slept in last night as it happens (and what’s it to ya?), a stain that, you notice, looks like a grubby white silhouette of Africa when you look in the bathroom mirror. You’ve been checking and rechecking your phone to clarify if it’s a Tuesday afternoon or a Sunday morning or even a Thursday night, the same phone that loudly heralds your daily step count and quietly informs you of an increase in screen time…..for the third week running. The telly plays in the background, a never-ending loop of graphs in an upward trajectory, safely-distanced shots of hastily-built hospital wards and talking heads of serious scientists and gormless government officials. The Prime Minister has chucked it, isolated due to The Virus (he says), so no more babbling hyperbole of squashing sombreros, but really, we all know he’s keeping out of the road because he’s feart to answer questions he has no decent answer for.
In times like this, I, we, look to music. Recently, it’s been a mix of Buzzcockian post-punk and a reacquaintance with the Zim at the start of the day, dub reggae and a bit of ska for lunch and John Martyn until the second? third? glass is drained and bedtime has long-passed. Last night I lifted and redropped the needle on his Glistening Glyndebourne half a dozen woozy, boozy times. A future article for sure.
A recent article focused on Cloth and their label Last Night From Glasgow. As you read this, the label is in the midst of curating and compiling The Isolation Sessions, a timely, hastily hatched and socially-conscious album with a noble purpose: the small, independent venues that host weekly shows, many of them featuring LNFG artists, venues that struggle at the best of times, will share in all proceeds from its sales. Simple, yet (fingers crossed) effective. The hope is that this endeavour should help in some small way towards these venues staying alive until who knows when. By the end of April, The Isolation Sessions should be complete and ready for release. You can pre-order it here.
What sets the album apart from most other compilations is that this is an album where labelmates cover one another’s tracks. The aforementioned Cloth have a go at reworking acoustic neo-folkie Annie Booth, who returns the favour by turning in a gossamer-thin version of Sleep. The Gracious Losers, Glasgow’s sprawling, scabby-kneed take on an Arcade Fired-up E-Street Band will cover psychedelic shoegazers Domiciles. Sister John offer up a faithfully introspective recording of Stephen Solo‘s Secrets You Keep, enhanced by the combined female/male vocals. For reference, think of those fantastic Isobel Campbell and Mark Lanegan albums from a few years back. Yes, that great.
The best track so far – and so far is the caveat here, because only a third of the album has been made available to LNFG subscribers, is Close Lobsters‘ amazing version of Cloth’s Curiosity Door. To fully appreciate it, you must first be familiar with the original;
Cloth – Curiosity Door
Curiosity Door is fantastic; synthesised pealing church bells giving way to whispered vocals, sparse percussion and lean, fat-free pulsing guitar, the pinged harmonics ringing long into the empty spaces. Womblike, dreamy in a just-woken-up manner and pin drop-quiet, it’s the perfect sampler of what Cloth is about. Never heard them? Curiosity should get the better of you. Boom boom.
Close Lobsters have only gone and – wow! – totally reinterpreted Curiosity Door as a motoric, propulsive mid 70s kosmische groover, all compasses going wild for map reference 51°14′N 6°47′E and Düsseldorf, West Germany. Listen to this!
Close Lobsters – Curiosity Door
Close Lobsters’ version is washed in Suicide keyboards, Michael Rother guitars and slow-burning, fractal, vapour trails that Sonic Boom would give his 1962 Vox Phantom for. The first thing you notice though is Andrew Burnett’s close-miked Scottish burr. Slightly menacing, slightly sinister, it brings to mind some of those great Pulp records where Jarvis whispers only for you, right down and deep into your ear. All summer, you’d shave your head, he goes. Given the current trend for DIY stay-at-home buzzcuts, well, how prescient!
I’ve had this on non-stop repeat for the past 24 hours and I can say with absolute confidence that it’s the best thing I’ve heard this year. When all of this is over and we get back to live music again and Last Night From Glasgow give the compilation the proper launch it deserves, I hope very much that, as great as Close Lobsters’ new album is in its own right, they’ll coax the band into playing their version of Curiosity Door very loudly indeed.
Now, have you ordered The Isolation Sessions yet?