This differs a tiny bit from the published version, which refers to "downhearted" puppets, because the editor thought that "clinically depressed" might not be appreciated by all readers. Now, don't misunderstand me, I'm fine with that, I'm not a "political correctness gone made" person, and I think it's important that editors consider what would be right for their readership, and the sensitivity in considering this issue reflects well on them. However, as I know I didn't intend any malice in the usage, and as I don't think referring to a mental health diagnosis should be any different from alluding to physical conditions creatively - we've all read reviews that talk about "dead leg rhythms" or "sausage-fingered" guitarists or drummers "who must be deaf" etc. Perhaps those should be made a ting of the past too. Anyway, if you have any thoughts either way, I'd be fascinated to hear them.
Or, just ignore that self-regarding waffle and buy the album. Did I mention that it's excellent?
LUCY LEAVE – EVERYONE IS DOING SO WELL (Divine Schism)
“We’re different, you can tell by looking at thumbs!”. It sounds like a slogan from a rejected SEGA
ad campaign, but it’s the outro refrain of one of the many excellent tracks on
Lucy leave’s second album (if refrain is the right word for what sounds like
three clinically depressed Sesame Street
characters intoning a disappointing mindfulness mantra out of time with each
other). In a way, “Thumbs” typifies the
album, by taking a nice neat, compact pop tune – in this case a chunky bass-led
Sebadoh saunter – and pushing it off balance.
Whether it’s a sudden scribble of Frith/Kaiser guitar notes, an awkward
falsetto croon, overblown freak-out recorder flurries or an inscrutable lyric
(“alluvial fiasco!”), each track seems to contain one element which at first
appears designed to commit musical sabotage, but which turns out to make
perfect sense after a few listens.
From the opener, “Talking Heads” – which doesn’t sound
like Talking Heads at all, more like Aerial M playing Yo La Tengo - to the closer “Grandma 2”, a self-effacing
Blur song which ends by quoting a 20s novelty jazz tune, listening to Everyone Is Doing So Well is like tripping
up and stumbling headlong through the town, never quite falling, never
regaining equilibrium, confused yet strangely exultant. As with previous Lucy Leave releases, there
will be those who find this record unnecessarily oblique, too understatedly
asymmetrical, and conclude that the band is scrappy and can’t play – news
update: they can play like motherfuckers – but for those of us who would edit
the fuzzball abandon of “Gymnastics Club” into the prom scene of every John
Hughes movie, this album is mysterious, ludic and quite, quite wonderful. We love it.
You can tell. Look at our raised thumbs.
