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Edwyn Collins - Losing Sleep // First Listen (For The Fly)

Edwyn Collins
‘Losing Sleep’
(Heavenly)

‘Losing Sleep’ sees Edwyn Collins make a triumphant return following his double brain hemorrhage in 2005, and what a return it is. Roping in a gaggle of musical friends including Franz Ferdinand’s Alex Kapranos, The Drums, Johnny Marr, Romeo Stodart of The Magic Numbers, Roddy Frame of Aztec Camera and The Cribs’ Ryan Jarman, the ex-Orange Juice man has come back with something as feel-good as it is eclectic, evoking the sounds of yesteryear without sounding out-dated. Freddie Harrison takes a listen…

‘Losing Sleep’
“I’m losing sleep / I’m losing dignity” sings Edwyn Collins, but don’t let the lyrical content of this opener and title track fool you. Musically, this is a cheery summer-tinged number. Marching drums frolic with syncopated guitars and all manner of other instruments. Throw in some backing vocals and you’ve almost got a Mowtown-esque number on your hands. It’s just past the two-minute mark and wait, is that horns I hear? ‘Losing Sleep’ may be getting Mr. Collins down as he’s at pains to tell you throughout the song, but it’s the kind-of stuff that could lift you right up at a summer festival.

‘What Is My Role?’
This one’s been co-written with Ryan Jarman, and it’s got that signature Cribs sound stamped all over it. The abrasive lead guitar that plays throughout but somehow sits perfectly alongside the lo-fi drums and driving bass. It’s almost blues for the indie generation here as Jarman and Collins introspectively sing, “Sometimes I’m up / Sometimes I’m down / Sometimes I wonder / What is my role?”. There’s a gloomy orchestration compared to previous track ‘Losing Sleep’, with everything firmly straddling the minor keys, Jarman’s brief solo adds a little bit of brightness just before the whole thing crescendos into a feedback-filled finish.

‘Do It Again’
This one’s got Messrs Kapranos and McCarthy of Franz Ferdinand fame on it, does it show? Not quite as much. The pace is kept up from ‘What Is My Role’ as fuzzy, synthy organs accompany Collins’ looming vocals, “So many ways / So many truths / So much to learn / So much to do.” It’s hardly complex songwriting but it’s Collins’ powerful voicing that makes this track. The Franz Ferdinand boys join in for the chorus and some much needed cheeriness, and things slow in pace a little whilst the guys tell us that they can, “do it again, do do do it again.”

‘Humble’
Collins is on his own for this one, and it’s when he goes solo that the tracks really shine. It’s a bit of a romantic number, jazz lounge keys, finger clicks, and tambourines. Edwyn’s pulling out all the stops for this one, “I can see it in the way you walk / So fine, so fine / I can see it in the way you smile / Divine, divine,” he croons, before launching into a harmony-infused chorus, “And she’s making me humble, she’s making me shy.” Ahh Edwyn, you charmer, you. The guitar solo’s smooth as hell, the harmonies are spot-on, it’s certainly working for me.

‘Come Today, Come Tomorrow’
It’s all acoustic guitars and staccato synths now, and that’s certainly not a bad thing. In fact, it’s pretty refreshing to see a change of mood and pace. There’s certainly a heavily 50s vibe going on, but not in the way that makes the music seem out-dated. Collins has pretty much done what Mark Ronson attempted and got heavily criticised for. Hats off to you sir. “Come tomorrow / Come today / I ain’t lying / No more tears.” Certainly not, this song feels too damn good to do any cryin’. This is a summer jam at its very best.

‘Bored’
Someone’s given Collins an octave pedal and he’s using it good. There’s a Burt Bacharach and Hal David-esque lyrical theme underpinning Edwyn’s complaints that he’s bored, “I’m not sure what to do with myself / I’m not sure what to do, what to say.” he sings. The track plods along, helped a little by someone tinkering with the ivories of a Hammond organ and as the last minute approaches the refrain kicks in, “I’m halfway down to where I’m going.” He’s got a point there, ‘cos we’re halfway through the album. Clever.

‘In Your Eyes’
The Drums join the party now, and much like ‘What Is My Role?’ it’s quite evident. Not that that’s a band thing, mind. Jonathan Pierce and Collins’ vocals compliment each other throughout the verses, so much so it could be like a father/son collaboration. Sort of. And when we hit the choruses the voices harmonise and suddenly everything seems right with the world. Musically, it’s very much an indie rock affair with lead guitars gracefully taking a back seat to the vocals and drums and bass providing the bedrock of what is essentially a little slice of Californian summer.

‘I Still Believe In You’
It’s a bit of a guitar-fest here with tremolo-drenched leads, acoustics, and distorted rhythms all fighting for a bit of the limelight, and it’s fair to say it’s the Ryan Jarman influence once again. The guitar-driven indie-rock stalwart is back for round two with Collins, and it’s a pretty fair fight. “I still believe in you / I still believe in you / Maybe you want me to,” the duo sing, and it’s probably a little more Cribs b-side than Collins solo album. That said, it’s still a good’un, and if nothing else, would make for a cracking live collaboration.

‘Over The Hill’
Edwyn’s on his own for this one, and that 60s Rock N’ Roll sound creeps back in. It’s welcomed with open arms, though. Drums and bass drive this one, with an optimistic handful of guitars rolling over the top. Collins is a bit of a rarity in that it looks like he’s actually looking forward to growing old. “Someday, I bet, when I’m older / When I’m wiser, when I’m over the hill,” he repeats to a plethora of instruments happily leading him to old age.

‘It Dawns On Me’
Continuing with the theme of an all-star cast, Collins is joined by Romeo Stodar for a bit of a care-free number. “Let me find out / Who I am / Let me live / And let me dream,” asks Collins and with such a feel-good song, who’d want to deny him that? An organ-lead orchestration of guitars and backing vocals make for a rather melodic pace-slower towards the tail-end of the album. Bung this one on when you’re stuck in one of those horrific queues on the M25 and you’ll probably end up jumping out of the car and hugging the guy next to you. Well, maybe don’t do that, but y’know.

‘All My Days’
Picking up where ‘It Dawns On Me’ left off, Edwyn and a guitar are left to comprehend life’s choices at about 5mph. “I’m trying to comprehend, the force the fear / I’m willing to accept, the good that’s near,” Collins sings, backed by harmonies that the Beach Boys could’ve easily penned. Instruments gradually gather round the metaphorical campfire and join in towards the latter half of the song. Roddy Frame seems quite happy to take a back-seat in this collaboration and let Collins do the work, and there’s something quite beautiful about that.

‘Searching For The Truth’
Collins leaves us with a bit of a lullaby and positivity a’plenty. “Some sweet day we’ll get there In the end / And I will always be lucky in my life / And I will find a way to get there, to get there,” he sings, accompanied little more than an acoustic and an organ. It’s at this point that you realise, despite having a handful of talented friends on the album, Collins carries it throughout. Cue harmonica outro, and possibly a tear? Lovely.

‘Losing Sleep’ will be reviewed in a future issue of The Fly.

Again, another ‘first listen’ feature I wrote for The Fly whilst on my internship with them. The original can be found here.

Filed under: journalism online The Fly Date: 07.21.10 Permalink

The Twilight Moan (A blog for The Fly)

I’m sorry I have to do this, but I need to make a point, and sometimes making a point involves talking about things you’d rather not talk about. Twilight is the subject of this blog…HANG ON, don’t leave just yet. Fact of the matter is I’d rather eat my own arm than watch them (admission: I watched the first one, if I didn’t I’d have no justification for writing this), but the only great part of them is their soundtracks.

Muse bassist Chris Wolstenholme recently compared having their songs on the soundtracks to “selling your soul.” Quite. And I’ve got sympathy for him, I’ve written all of three awful songs in my life, but the thought of bunging them on the soundtrack of a Twilight film is a bit like, well, selling your soul. But the sad reality is, Chris, that Twilight needs your beautiful music. Here’s why…

Twilight generally appeals to the kind of people who like Justin Bieber and Jedward, such is its awful-ness. There’s no way on earth that anyone who’s not 14 and female could actually find these films remotely great. So when the board meeting took place between the film execs to tackle this problem, the most obvious soloution was to give it a decent soundtrack. 

And a decent soundtrack they did. The first of the four films played, and whilst teenage girls across the world watched vampires chasing woman chasing werewolves chasing vampires (repeat, repeat, repeat, ad nauseum.), the rest of the audience had pretty much shut their eyes and were enjoying Muse, Paramore, and Iron & Wine. Hell, even Radiohead contributed to the film’s soundtrack, with ‘15 Step’ cleverly placed at the beginning of the credits - it’s clever ‘cos the kind of people who stick around for the credits of any film also probably love Radiohead. 

Nowadays Twilight soundtracks read a bit like a who’s who of decent artists over the last few years – Florence & The Machine, Editors, Death Cab For Cutie… It’s almost gratifying to the point that it makes up for hysteria the films have caused. You now live in a world where, if you walk into the waiting room of the right Texan dentist, you can get yourself a natty little set of vampire tooth veneers fitted. I think I’d prefer my future children spending their pocket money on drugs and hookers or something. 

Of course, these aren’t the first films to be aided by a pretty awesome soundtrack. Trainspotting was already a great film, but made all the better when Lou Reed (ahh, the beautiful irony of ‘Perfect Day’ during an overdose scene), Blur, Iggy Pop, and New Order played along in the background. Or if you want me to go a little further back, look no further than the funk-filled goodness of Tarantino’s classic Pulp Fiction. Kool & The Gang, Al Green, Dusty Springfield, et al.

The moral of the story? If you make a film and it’s really bad, or it’s part of the Twilight Saga (and then it’s just bad by default), then give it a decent soundtrack; they make great films great, and bad films slightly more bearable. Got that, future film-makers of tomorrow? If it worked for Twilight, it can work for you too…

This is a mildly music-related blog I wrote for The Fly whilst I’m on an internship there. I owe a lot of thanks to Mr JJ Dunning for his help on making this decent, readable, and possibly amusing.

You can view the original here.

Filed under: journalism online The Fly Date: 07.16.10 Permalink