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Albums

Best albums of 2022: #4 Wet Leg “Wet Leg”

I generally feel like I’ve got a pretty good grasp on the comings and goings and new releases of music, especially when it comes to the alternative and indie realm, but I’m obvious not omniscient. Every once in a while, something slips through on first pass and “Wet Leg” is a perfect example of one of those parties to which I arrived unfashionably late. Indeed, I hadn’t heard of them at all until the week of their self-titled debut’s release and I started seeing tons of hype all over the music sites and pictures of the album’s cover and vinyl pressing on the various vinyl-loving pages I follow on Instagram.

Rhian Teasdale and Hester Chambers are long-time friends who decided to form as a duo in 2019 after years of miring in relative solo musician obscurity on the Isle of Wight. They’ve given a handful of differing reasons as to why they settled on Wet Leg as a moniker but the version I believe or want to believe the most was as a constant reminder to not take themselves too seriously. They signed with Domino Records in late 2020 and recorded the aforementioned debut in the spring of 2021.

A couple of months after the album was finished, Wet Leg released the first advance single and really, their first ever single. And yeah, it went viral, racking up millions of streams in its first year. With the second single almost as successful, it was unsurprising that the music machine started to take notice. “Wet Leg” was finally released a year after it was recorded and was preceded by five singles in total. It debuted at #1 on the UK and Australian record charts and performed well in pretty much every major market. It was nominated for the UK’s Mercury Prize and for a handful of Grammys in the US.

The first time I streamed it, I did so with a dubious ear, but one that quickly melted to the glee that many other music fans have obviously experienced. There’s something universal in their sound, which is probably why I’ve seen them classified as everything from punk to post-punk, from garage rock to britpop, and from new wave to slacker rock. The duo is original and exciting, but given their quick ascent in popularity, they are already treading the fine line of darling and derision. All eyes and ears will be on whether they can properly follow this up but for now, we can appreciate the debut as pure fun and folly.

Indeed, there’s plenty to like here but there’s no arguing with the three singles I’ve picked for you to peruse, just in case you (as I almost did) have missed out on Wet Leg thus far.

“Too late now“: The third single and last track on the album has a rumbling bass line and chiming guitars that keep time with Teasdale’s shifty vocals. It feels at first like it’s got it all together, albeit insular and atmospheric, but little by little, its insecurity shows and by the end it’s a shambolic mess. “Down we go while holding hands. If I fuck this up, I’m taking you down with me.” It’s feedback and hammering drums and chaos and I really wouldn’t have it any other way.

“Wet dream”: Working backward through their singles, track five reminds me a bit of Goat Girl, who were a surprise entry on my end of the year list last year. It’s a bass groove that flirts with Blondie and The Go-Go’s but is perhaps more overt in its sexuality and its refusal to play and accept its role. “What makes you think you’re good enough to think about me when you’re touching yourself?” But in spite of its knowing side glances and sly winks, it is at its heart, a great pop song and has the potential to fill dance floors everywhere.

“Chaise longue”: Here’s the big one. The ear worm. The song you want to hate but can’t help but love. You listen to it over and over and find yourself singing along to that damned repetitive chorus. “On the chaise longue, on the chaise longue, on the chaise longue. All day long, on the chaise longue.” Fast and frenetic and hyperventilating. One could almost imagine Justine Frischmann singing it with her band Elastica back in the mid 90s. It’s no wonder it’s gotten so much play.

We’ll be back after the holiday with album #3. In the meantime, here are the previous albums in this list:

10. Blushing “Possessions”
9. Just Mustard “Heart under”
8. Jeanines “Don’t wait for a sign”
7. The Reds, Pinks and Purples “Summer at land’s end”
6. Tallies “Patina”
5. Suede “Autofiction”

You can also check out my Best Albums page here if you’re interested in my other favourite albums lists.

And finally, for those who celebrate, best wishes to you, your friends, and your families for a very merry Christmas.

Categories
Albums

Best albums of 2022: #5 Suede “Autofiction”

London-based quintet, Suede, has made a number of appearances on this blog’s pages already. I’ve already written about how I picked up on them late but once I finally did, it was true love. I’ve touched on how phenomenal their b-sides were in their early days, tackled one of their covers, and even spoken of their untimely disbanding in the early part of the 2000s. But what I haven’t really gotten to thus far is their post-reunion material.

Seven years after their breakup in 2003, the lineup, as it was upon dissolution, re-formed for what was being called a one-off set as part of the Teenage Cancer Trust shows at Royal Albert Hall. Frontman Brett Anderson had such a blast that more shows followed… and then more… and then tours followed by festival circuits. Their first reunion album, “Bloodsports”, appeared in 2013 and picked right up where they should have left off ten years earlier. Two more albums were released in 2016 and 2018, orchestral and dramatic and notable for lacking what one might call ‘radio-friendly singles’.

All of those last three albums have been enjoyed by this particular fan and have also been critically lauded all around. I think with “Autofiction”, though, their 9th studio album and 4th since reforming, Brett Anderson and crew have created their best piece of work since their biggest album, 1996’s “Coming up”. This new one was originally meant to be recorded live, in front of rabid audiences, to capture their own particular live performance energy. Of course, these plans were scuttled due to the pandemic and they chose instead to keep production light, recording with additional musicians, rather than additional layers. Anderson has called this the band’s ‘punk album’ and it certainly has more energy and less bells and whistles.

“Autofiction” sounds like a Suede album from yesteryear but with the maturity and experience of today. It is dramatic and dirty and romantic. It is eleven fantastic tracks that bare their soul to the listener more and more with each listen. It is a complete album and it should be listened to as such, but if you’re lacking the time, you can start with these three tracks that I’ve picked out for you.

“It’s always the quiet ones“: “Oh they stay in shadows, all the heart breakers. Oh they stay in shadows, all the trouble makers. It’s always the quiet ones.” Isn’t this always the case, though? From the haunting and menacing intro to the feedback screams and uplifting chorus, track nine torments us and warns us not to take anything for granted. And then it screams away into the night.

“What am I without you”: The finale track on the album is the six minute exercise in introspection and self-appraisal. Anderson is recognizing his lot as an entertainer and the rest of the band backs him up with their guns a-blazing. To the question he asks himself over and over – “What am I without you?” – you can almost see him shrinking under the heat of the spotlight. The answer can only be: “I’m nothing without you, so let love burn.”

“She still leads me on”: “But I loved her with my last breath. And I loved her with a love that was strong as death. And I loved her when she was unkind. And I loved her, I loved her, a dangerous mind.” The album’s first track and first single is Anderson’s musings on the death of his mother some thirty-plus years ago. It is as heartbreaking as it is beautiful and passionate. And man does it rock!

We’ll be back in a couple days with album #4. In the meantime, here are the previous albums in this list:

10. Blushing “Possessions”
9. Just Mustard “Heart under”
8. Jeanines “Don’t wait for a sign”
7. The Reds, Pinks and Purples “Summer at land’s end”
6. Tallies “Patina”

You can also check out my Best Albums page here if you’re interested in my other favourite albums lists.

Categories
Tunes

Top five tunes: The Specials

(We interrupt our regularly scheduled programming today with a special guest post from our good friend Andrew Rodriguez, who was perhaps inspired to write some words by the recent news of Terry Hall’s death. We will return to our end of the year Best Albums countdown on the morrow. Enjoy.)

I met Todd Burnham in 1986. He was an “Old Boy” from the Boarding School I attended for a few years. In fact he was partially responsible for me being sent there in the first place, our fathers were friends, and Mr B had told my father about how ‘impressed’ he was with the school. What impressed me about Burnham most however, was his style. He was a Rude Boy. And he dressed like nothing I had ever seen. 2 Tone Dr Marten brogues, rolled up jeans, Fred Perry, Stingy Brim and a jacket covered in patches. “What is Ska?” I asked. “It’s early reggae – it’s faster tempo”. I cooly memorised all the names of the bands displayed on his jacket and made a note to seek out what albums I could, when I got to go home. The largest of the patches had a checkerboard theme and said simply ‘THE SPECIALS’.

About a year later I bought my first Specials album, with my allowance. It was called More Specials – their second album, though I didn’t know that at the time. From the first needle drop, I was very much hooked. A danceable mixture of styles and themes, characterised by a sort of (my term) pragmatic moodiness.

They formed around 1977 in Coventry England, from a band called the Coventry Automatics. They were key figures in the “2 Tone movement”, also called “second wave ska”, which was based around the 2 Tone record label (created by Jerry Dammers – their Organist). There were several other notable bands on that label but I won’t discuss them here. If you choose to look further into the Specials (you should), do not be confused by the names. Early on they went by the name “Special AKA”, and variations thereof. That name was also used by the second incarnation of the band, so it can get a bit confusing! With various lineup changes they’ve been an active touring and recording band since reforming after their first real breakup in 1984.

For the purposes of this short entry (no-one is allowed to go over word limits here – we are professionals goddammit!) I’ll skip the details of the band, that is what Wikipedia is for (be sure to donate too they are begging for money). I’m also going to stick to their (best) earliest era, lineup, and albums.

OK! They were just such a striking band. Their dress style was heavily influenced by the early 60s mod scene. Their first album was produced by Elvis Costello, and had a punk feel to it, something you really get in their live recordings. By the second album they slowed the tempo down a bit and the sound was fuller and more produced. More Specials also included outside personnel, including the Sax player from Madness and the singer from the Bodysnatchers – both labelmates on 2 Tone. Their lyrics were substantial, addressing daily life, with some political and social commentary elements thrown in for good measure. They looked cool and sounded even cooler. In keeping with the restrictions placed on me spirit of this blog, I’m now going to introduce you to 5 of my favourite Specials tunes. I hope you enjoy this as much as I do!

“Concrete jungle” (from The Specials, 1979)

Remember I mentioned the punkiness of some of their early stuff? First up is a live version of Concrete Jungle, from their self-titled debut LP. It’s not a cover of the Bob Marley song. The grainy footage is taken from a film called Dance Craze which was a sort of promo for 2 Tone, it and the associated live album are quite good, and feature most of the bands on the label. Both are on Youtube.

“It’s up to you” (from The Specials, 1979)

Now, this is direct from the first album – The Specials. I picked this because it showcases a bit more of their ska/reggae influences. The entire album is worth a spin, it’s hard to select just a few.

“Rat race” (from More Specials, 1980)

Next up we have Coventry’s finest looking very Scholarly, in the video for a tune from their second album (and the one I bought first) More Specials. Rat Race (again not a Bob Marley cover!). Note the slightly moodier tone. Note also, singer Terry Hall and the band don’t look nearly as dated as the 1980 kids in the ‘classroom’ – some looks just don’t go out of style.

“I can’t stand it” (from More Specials, 1980)

Hey – I coined the term “pragmatic moodiness” – so I certainly as EFF can determine this song to be the epitome of it! From More Specials, and a personal favourite, I Can’t Stand It. verbally jousting with Terry Hall is Rhoda Dakar – the singer from the Bodysnatchers.

“Ghost town” (from Ghost town, 1981)

NOW. The final selection, this is from the Ghost Town Ep. It was a single and it went to number 1 in 1981. Shortly thereafter Terry, Neville, and Lynval left the group to form Fun Boy Three. Ghost Town was a 3 song Ep and it is phenomenal. It is more reggae than ska. Since I really can’t make my mind up – you really should check out all three songs, each is very different. Friday Night and Saturday Morning is probably my favourite Specials song of all. But I won’t play it here because I’ve already done a moody song. Why? is also fantastic. But I will take the lazy route and just select the single itself. I drove around town a lot listening to this during the lockdown(s). You might see why it was stuck in my head.

Well that’s a wrap. Thank you for reading. Sadly, the day that I wrote this, I learned (from John) that Terry Hall died. The details are sparse, which generally leads some to speculation. There is no speculation to be found in these pages; merely respect, and appreciation for a fantastic singer and entertainer. Thank you Mr. Hall. You will be missed. On a more positive note I would like to wish the readership a Merry Christmas, and Happy music listening New Year!

A few more stats on The Specials

Years active: 1977–1981, 1982-1984, 1993, 1996–2001, 2008–present

Original band members:
Terry Hall – lead vocals (1977–81, 2008–22)
Lynval Golding – rhythm and lead guitar, vocals (1977–81, 1993, 1994–1998, 2008–present)
Horace Panter – bass guitar (1977–81, 1982, 1993, 1994–1998, 2000-2001, 2008–present)
Jerry Dammers – keyboards, principal songwriter, vocals (1977–81)
Roddy Radiation – lead guitar, vocals (1978–81, 1993, 1996–2001, 2008–14)
Neville Staple – toasting, vocals, percussion (1978–81, 1993, 1996–2001, 2008–12)
John Bradbury – drums (1979–84, 2008–15)
Dick Cuthell – flugelhorn, trumpet (1979–84)
Rico Rodriguez – trombone (1979–81, 1982)

Discography (studio LPs only):
The Specials (1979)
More Specials (1980)
Today’s Specials (1996)
Guilty ’til Proved Innocent! (1998)
Skinhead Girl (2000)
Conquering Ruler (2001)
Encore (2019)
Protest Songs 1924-2012 (2021)

For other top five lists in this series, click here.