Snout
was always a group steeped in 60's pop. With this record they take
their adventure another notch to the far left of those inspirations.
The album starts innocently enough, first with a neat little pop
tune, then with the introduction of brass. By the fourth track we've
totally moved into 'different' territory. While Snout shared those
60's fascinations with contemporaries like You Am I and Even, they
were always tempted to go to stranger sonic extremes. After all,
leader Ross McLellan is brother of Link Meanie! Between this and
the previous Snout album, 98's 'Circle High And Wide', Ross has
found another playmate, Shane O'Mara of Rebecca's Empire fame. 'Managing
Good Looks' was recorded in Shane 's studio. As a guitarist Shane
produces a surprising range of sounds from his instrument. He 'plays'
his studio like he does his guitar. From ultra quiet to full-on
attack. On 'Managing Good Looks' we hear Ross McLellan's pop sense
pushed and stretched in all directions, sounding at different times
like Beck or a minimalist John Lennon or David Bowie with the Who,
or Style Council period Paul Weller, or Brian Wilson without harmonies.
The sounds are often stark, as a foil to McLellan's vocals. And
even those vocals go through the hoops, rapping rhythmically and
then screaming on 'Kickin' Up A Racket'. Talking his way into 'No
Nine Savers'. Hoarsely urging on 'Lil' Gemstones' around brass,
cowbell, booming bass, and flying guitar. Apart from the brass there
are liberal lashes of string arrangements throughout the album.
Got the idea? There's a lot of action. And inside it all, that songwriter
with the strong pop sense in total control of everything that's
happening.
Snout
was always a group steeped in 60's pop. With this record they take
their adventure another notch to the far left of those inspirations.
The album starts innocently enough, first with a neat little pop
tune, then with the introduction of brass. By the fourth track we've
totally moved into 'different' territory. While Snout shared those
60's fascinations with contemporaries like You Am I and Even, they
were always tempted to go to stranger sonic extremes. After all,
leader Ross McLellan is brother of Link Meanie! Between this and
the previous Snout album, 98's 'Circle High And Wide', Ross has
found another playmate, Shane O'Mara of Rebecca's Empire fame. 'Managing
Good Looks' was recorded in Shane 's studio. As a guitarist Shane
produces a surprising range of sounds from his instrument. He 'plays'
his studio like he does his guitar. From ultra quiet to full-on
attack. On 'Managing Good Looks' we hear Ross McLellan's pop sense
pushed and stretched in all directions, sounding at different times
like Beck or a minimalist John Lennon or David Bowie with the Who,
or Style Council period Paul Weller, or Brian Wilson without harmonies.
The sounds are often stark, as a foil to McLellan's vocals. And
even those vocals go through the hoops, rapping rhythmically and
then screaming on 'Kickin' Up A Racket'. Talking his way into 'No
Nine Savers'. Hoarsely urging on 'Lil' Gemstones' around brass,
cowbell, booming bass, and flying guitar. Apart from the brass there
are liberal lashes of string arrangements throughout the album.
Got the idea? There's a lot of action. And inside it all, that songwriter
with the strong pop sense in total control of everything that's
happening.