Well, as we plod on towards the end of 2013, with everyone and anyone
making their -often predictable- end of the year 'best of' lists, it
was a nice surprise this week to get acces to two extremely enjoyable
recordings hailing from Bonnie Scotland. The first one is a recording
from yesteryear; of one of the mighty
Orange Juice's
very early concerts at Glasgow Technical College in 1980 (more about
this at a later date), and the other one is the debut release from
Dora Maar.
No,
not the Dora Maar, French photographer, poet and painter who is,
unfortunately, better known for having been one of Picasso's lovers than
for her own work, but a young band from Leith, Edinburgh. A place I
don't really know much about except that it's a port/docks area in
Edinburgh and that (in)famous Scots novelist, Hibernian F.C. fan, Irvine
Welsh grew up there. In fact, the very few times I've ever visited the
place it would have been to see football games between the Hibees and
Rangers F.C. Way back in the day when I was interested in football. A
time when clubs didn't even have sponsors' names on their shirts so you
can imagine how long ago that was.
Anyhow, according to their
press release, the band is made up of "two Andrews, an Erika and a
Liam". I'm not really sure who plays what in the band but I'm certain
that it's one of the male members on vocals. From the very, and wee bit
ramshackle, start it's clear whom the band's influences are. In fact,
they could have called this release,
en hommage, 'A Postcard From Leith' as they sound and appear to be highly influenced by early ('80/'81)
Postcard Records' bands
Josef K and
Orange Juice.
Besides the 'Postcard' influence there's also some Monochrome Set,
Pastels, Vic Godard shaping their sound. Not to forget the Velvet
Undergound which appears to me to be most visible on the opening
'Jessica Says' track. Starting off with jangly guitar, pounding
drumbeat, followed by vocals that sound like a hybrid version of Edwyn
Collins and Paul Haig,
'Jessica Says' has me thinking of a speeded-up version of VU's 'Stephanie Says'. This is followed by my favourite track
'The 'Fetch'',
which commences with a militarylike drumbeat, laid back guitar, before
the dulcet tones of the vocalist come to the forefront and, in spite of
what sounds like a sorry tale of "punishment", delivers a beauty of a
song.
'Anna Karina, 1965' is a close second fave; I'll put this down to it being, in my mind, the most Josef K-like track along with the sublime
'I Won't Be Back' which is the last track on this, too short, tape. Lots of varying influences doesn't mean lack of originality and
Dora Marr have the spunk and promise of greater things to come.
At
any rate; despite recording/mixing quality, which isn't that great but
at the same time is definitely part of its charm, this is a very
commendable and exciting debut release. So, if jangling guitars and
compelling melodies are your thing, get your hands on a copy a.s.a.p.* (
japanese forms)
*
‘Dora Maar’
is limited to an initial run of 50 hand-numbered, hand-stamped
cassettes (download included) will be available from the band’s Bandcamp
on 11 December 2013 (11.12.13, ya dig?). Further physical stockists
TBA.
Dora Maar : BandcampDora Maar : Website
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Listen to 'Dora Marr' below
