In case you have forgotten, there are some big releases due out next Tuesday the 23rd (Monday for you Brits). I was going to review one of them, God Help the Girl, tonight, but I got distracted (more on that later). Instead, expect a double review on Monday (GHG, and Regina Spektor’s Far). Also on the cards in the near-ish future, Imogen Heap announced yesterday that her new album, Ellipse, will be released (in the States) 25 August, which is also the scheduled release date for Fun’s upcoming Aim and Ignite. But the biggest news of the day, at least for me (and not only because I love Welsh accents), The School have finished recording their debut LP! With mixing and stuff still to be done, they are aiming for an October release. So excited!
So, anyway, why are you not reading a review right now. Well, I was doing a bit of research whilst writing my God Help the Girl review and came across this analysis over at Drowned in Sound. I am not going to argue with the judgment of the author because he has had a lot of time to listen to listen to a hard copy of the record whilst I have had only recently had a couple of passes through an online stream. I do, however, take issue with the tone of the article, because it seems that Mr. Tudor has fallen victim to his own coolness.
We are not 100 words into the article before he declares God Help the Girl to be “another step backwards”–for Belle & Sebastian. Funny thing, though. This is not a Belle & Sebastian record. Judging GHG in light of Tigermilk or If You’re Feeling Sinister is like calling Band On the Run a step back for the Beatles because it’s not The White Album. I suppose it would not be completely justified to take Mr. Tudor too severely to task for the style of his critique. As a reviewer, it is essential to recognize that there are certain landmarks within each genre (for instance C86 or the Velvet Underground) and that they are necessary in describing other albums and artists. And in a genre that was in many ways created by Belle & Sebastian 13 years ago and dominated by them throughout the ensuing decade, B&S references are inevitable. Perhaps, he has simply taken that comparison a step too far. (Ironically, I suspect that, frequently, reviewers are not nearly as familiar with the reference points they invoke as they let on. I, for instance, have never actually heard the C 86 compilation, but that hasn’t stopped me from referencing it on several occasions. Or, everyone touts the “literary influences” of Belle & Sebastian, but how many of them have actually read John Whiting’s The Devils? [For the record, I have.])
Now, it is quite possible that, upon closer examination, I will not like God Help the Girl. They may not arouse in me the undying devotion that Belle & Sebastian do. Be that as it may, it will be a strike against God Help the Girl, not against B&S. Who knows, it might even awaken the ennui in me and I will find something in the album to be entirely indifferent about. You will have to wait until Monday to find out. But I have listened to it a couple of times and, unfortunately, I like it. I guess I’m not a critic after all, but one of those pathetic, toxic creatures who typically reserve their passion for football clubs and SciFi television programs. I am a fan. Luckily, I live in the American Midwest where we’re all backwards, inbred, and friendly to begin with and you will never have to come within 35,000 feet of me.