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Looper, "The Snare"
Mute
Whether you think you have or not, you've heard Looper. The sideproject turned main project of Stuart David, departed bass player oftwee rock outfit Belle and Sebastian, Looper have had music featured incommercials and films - 'Mondo '77' from their 2000 offering "TheGeometrid" was a featured track in Cameron Crowe's disastrous "VanillaSky". The band is essentially David, his wife Karn, and his littlebrother Ronnie Black. On this album, however, Looper's first for MuteRecords, it would seem that David has a few other collaborators whohave changed the landscape for Looper forever. The album was inspiredby David's second novel, "The Peacock Manifesto", and - as a partialsettlement of authorship disputes over the novel between David and hismain character Peacock Johnson - the album "features" Peacock andsaxophonist Evil Bob. Whether or not these two exist as more than apublicity vehicle for the new record remains to be seen. However, their"presence" has altered Looper into a noir film soundtrack band with andR&B heart. So, now, whether you've heard Looper or not, you'venever heard Looper like this. "The Snare" is an homage to darkerunderbellies - a dance version of Glen Campbell's "Rhinestone Cowboy",the aim of Peacock Johnson, it isn't. It's far removed from Looper'spoppier fare from first track to the last. It's Looper's seemingtribute to modern music by way of earlier influences. That's right:it's like Looper making an album with Missy Eliott. With the Davidssinging. I know, the description sounds bad. And the record isn't thebest thing Looper have done. In fact, it just smacks of "We know we'vebeen pretty disposable up until now, so here's a more mature album forya!" The whole album has the same drum sound, the same vocals, the samebass sound. It's meant to be a concept album where all tracks tietogether, but they only contain the same elements. There appears to beno growth from previous releases. In fact, the only track that holdsany promise is the final one, 'Fucking Around', and that's because itsounds vaguely like David's time with Belle and Sebastian. I'd give itthe whole record a pass, really, but try it out because it might beyour bag, man.
Whether you think you have or not, you've heard Looper. The sideproject turned main project of Stuart David, departed bass player oftwee rock outfit Belle and Sebastian, Looper have had music featured incommercials and films - 'Mondo '77' from their 2000 offering "TheGeometrid" was a featured track in Cameron Crowe's disastrous "VanillaSky". The band is essentially David, his wife Karn, and his littlebrother Ronnie Black. On this album, however, Looper's first for MuteRecords, it would seem that David has a few other collaborators whohave changed the landscape for Looper forever. The album was inspiredby David's second novel, "The Peacock Manifesto", and - as a partialsettlement of authorship disputes over the novel between David and hismain character Peacock Johnson - the album "features" Peacock andsaxophonist Evil Bob. Whether or not these two exist as more than apublicity vehicle for the new record remains to be seen. However, their"presence" has altered Looper into a noir film soundtrack band with andR&B heart. So, now, whether you've heard Looper or not, you'venever heard Looper like this. "The Snare" is an homage to darkerunderbellies - a dance version of Glen Campbell's "Rhinestone Cowboy",the aim of Peacock Johnson, it isn't. It's far removed from Looper'spoppier fare from first track to the last. It's Looper's seemingtribute to modern music by way of earlier influences. That's right:it's like Looper making an album with Missy Eliott. With the Davidssinging. I know, the description sounds bad. And the record isn't thebest thing Looper have done. In fact, it just smacks of "We know we'vebeen pretty disposable up until now, so here's a more mature album forya!" The whole album has the same drum sound, the same vocals, the samebass sound. It's meant to be a concept album where all tracks tietogether, but they only contain the same elements. There appears to beno growth from previous releases. In fact, the only track that holdsany promise is the final one, 'Fucking Around', and that's because itsounds vaguely like David's time with Belle and Sebastian. I'd give itthe whole record a pass, really, but try it out because it might beyour bag, man.
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