|
PREORDER
Ships When IN STOCK.
|
ARTIST
TITLE
Sure Beats Living
FORMAT
LP
LABEL
CATALOG #
SKALD 039LP
SKALD 039LP
GENRE
RELEASE DATE
8/8/2025
|
LP version. In the weird world of Wevie Stonder, things are never straightforward. The four-piece collective headed up by Al Boorman have returned with their first album in 16 years -- and one reason it took so long is that they couldn't think of a title. The group are renowned for their outlandish electronics and humorous vocal performances, with a series of treasured releases on Manchester's eminent Skam Records, and their latest album Sure Beats Living ventures into unknown realms. Introducing a host of new characters, tall tales and bizarre scenarios to a musical backdrop as varied as it is striking, the record darts between ambient tranquility, strange soundtracks, bass-heavy beats and emotive R&B. Opener "That's Magic" features a magician talking us through a convoluted magic trick, to a mysterious synth theme that a celebrity conjurer might use to help the pyramids disappear. It's probably one of the only pieces of music to draw influences from Paul Daniels. "Carpet Squares" is a hefty slab of squirming machine bass, acid squidges and clanking industrial drums, its samples extolling the virtues of fitting comfortable flooring, with a voiceover recorded on a Canadian golf course. "Vanja & Slavcho" tells the odd story of twins who have an extraordinary ability to a bustle of spiraling arpeggios and comedic sound effects, while "Tiktaalik" has a glam rock beat, guitar twangs, wild synth runs and dance music drum rolls that build to nowhere, plus processed dolphin noises and a vocal about evolution. Then there's "Piccolo's Travels," a spellbinding mix of classical strings and -- is that a malfunctioning Clanger? "Album Titles" lists rejected names for the record to hilarious effect, with outlandish blips, accordion riffs and bubbling percussion setting the scene, "The 38th Parallel" is a wonky slab of electronica, while "Push It" has everything from rock guitar interjections to explosions and birdsong. If "Customer Services" imagines the bewildering experience of dealing with a sentient automated phone call, then the following "Nothing To Write Home About" is a waltz-time organ piece with a nostalgic, bittersweet air. "Ready?" lists practically every genre under the sun and gives you a burst of it, from drill to country and western, hardcore to Miami bass, and the final track, "The Void," is an AutoTune-laced R&B track with a deep, emotional core.
|
|
|