Luke Haines — Beat Poetry For Survivalists
⇒ Vážený anglický skladatel a vůdce The Auteurs, Baader Meinhof a Black Box Recorder.
•★• Luke Haines a Peter Buck se chystají na turné po Velké Británii v dubnu 2020, včetně Hebden Bridge Trade’s Club on 13th April a dvou performancí v 100 Club London 15th a 16th.
•★• Beat Poetry For Survivalist je nová spolupráce mezi Peterem Buckem a Lukem Hainesem. Peter Buck byl kytaristou největší kapely na světě — REM, Luke Haines byl kytaristou The Auteurs. Auteurs nebyli největší kapelou na světě. Byli však docela dobří. Luke Haines také maluje obrazy Lou Reeda. Jednoho dne si Peter Buck koupil jeden z obrazů Lou Reeda od Luke Hainese (za 99,00 liber). Nikdy se nesetkali, ale rozhodli se, že je osud spojí dohromady, měli by společně napsat nějaké písně a vytvořit album. Beat Poetry For The Survivalist je tím albem. S písněmi o legendárním raketovém vědci a okultistovi Jackovi Parsonsovi, The Enfield Hauntings (1978), post~apokalyptická rozhlasová stanice, která hraje pouze Donovanovy nahrávky, Bigfoot a Pol Pot.
Born: 7 October 1967, Walton~on~Thames, England
Location: North London, UK
Instruments: Guitar, piano/keyboard
Album release: 6 Mar. 2020
Record Label: Cherry Red/Omnivore Recordings
01 Jack Parsons 4:35
02 Apocalypse Beach 4:37
03 Last of the Legendary Bigfoot Hunters 4:13
04 Beat Poetry for the Survivalist 4:29
05 Witch Tariff 3:47
06 Andy Warhol Was Not Kind 3:39
07 French Man Glam Gang 3:50
08 Ugly Dude Blues 3:37
09 Bobby’s Wild Years 3:43
10 Rock ‘N’ Roll Ambulance 2:55
• Joe Adragna Congas, Drums
• Peter Buck Composer, E~Bow, Guitar (Acoustic), Guitar (Electric), Producer
• Luke Haines Composer, Guitar, Mixing, Producer, Synthesizer, Vocals
• Louise Mason Artwork
• Scott McCaughey Composer, Producer
• Fred Ph Vocals (Background)
• Ed Woods Mastering
•★• An indie~rock eccentric and an alt. rock legend join forces to explore esoteric pop culture worlds.
•★• It is to Peter Buck’s immense credit that it no longer feels a legal requirement to introduce him as “PeterBuckfromREM”. Indeed, Buck has never wasted a second of time moving on from the twitching behemoth of that band’s corpse, whether it be with The Minus 5, Tuatara or any number of other combos cobbled together (usually) with neighbours from his stays in Seattle and Portland. He is, more than your usual squillionaire rock guitarist, a massive music fan, happy to play tiny gigs and release small~run records in order to give something new a whirl. Playing with Luke Haines is another matter entirely, of course.
•★• Legend tells us (ok, the press release tells me) that they made the acquaintance of each other after Buck purchased one of Haine’s celebrated rock ‘n’ roll portraits (a £99 Lou Reed, for the record) and polite conversation led to cross~Atlantic manly handshakes and a collaborative record which has been patched together with the pair recording their respective parts in their own manor. So, how does an album by one of indie rock’s most recognised mainstream successes and one of indie rock’s most contrary snatchers of defeat from the jaws of victory pan out?
•★• There’s a feeling of a very agreeable gentlemanly fist~fight about the ten tracks, whereby each participant pretends to nod sagely at the other’s contribution, only to then feverishly beaver away at finding a way they can overshadow it. Common sense would tell you Peter Buck is going to win out here, the weight of his musical history and success dictating that the final word is always going to be his. Naturally, this is not the case, Haines’ arrangements, lyrics and incredulity at the world around him is merely given a surprisingly reverential peg~up, from the rather baroque sounds of opener Jack Parsons, to the Velvet Underground~isms of Apocalypse Beach and the polished glam Haines continually returns to.
•★• If there’s been a decidedly British folk~horror tone to much of Luke Haines’ recent recorded output, the addition of Buck has brought additional road movie soundtrack motifs and a messed~up post~bomb dust~bowl Planet of the Apes convention quality to the party. The tablas and recorders of Last of the Legendary Bigfoot Hunters are typical of Haines budging not one jot from his modus operandi. He’s either attempting to bring the recorder to the forefront of rock ‘n’ roll or ensuring it is quarantined forever, it’s repeated appearance throughout the album doing the job of breaking the fourth wall and allowing the listener to know that this is very much, business as (un)usual. A primary school music lesson as Greek chorus.
•★• Elsewhere, preposterous modulators and whirring electric things introduce the usual cast of pop culture oddities to wave to their mums at home: Donovan; The Carpenters; Johnnie Ray, typical characters who have attained a faded tarnish to their once splendid tiaras. There’s a veritable popular culture firing squad assembled for Andy Warhol Was Not Kind, a track, which along with Bobby’s Wild Years, would have a crack at being a bona fide hit, had it not got the slippery hands of the perma~unlucky Luke all over them.
•★• Beat Poetry for Survivalists reflects very well on all concerned. The involvement of an outside source has given Luke Haines a much lusher canvas for his meditations on everything from occultist rocket~man, Jack Parsons and Bigfoot to Bobby Fischer and Pol Pot. The guitar work is exemplary through, bolshy yet sympathetic. Purist REM fans will be livid and if that doesn’t want to make you buy it, I can’t help you.
AllMusic Review by Mark Deming; Score: ★★★½