I have no idea what lead me to this. It's a series of lovingly crafted instrumentals, all starting small and soaring later. Very ambient, rhythmically speaking. Could easily be a film score. In fact, cries out for it.
This is mostly a covers album kickstarted to send Meursault to SXSW this year. It does a great job of genre jumping, not least in the choice of songs. At its worst, it's generic Scots indie. At its best, it's a shining example of trust and faith and passion. I'd particularly like to pick out No Children and Thou Shalt Always Kill. I now know how to pronounce Meursault.
One of the tracks from this appears as Unknown in one of my mixtapes, and thanks to shazaam I finally tracked down what it is. The album pops in and out of styles, laying drums on lazy jazz and shuffly vocals, picking the beat up and then carefully putting it back down. Always making you think just a little bit faster than you would expect.
This is the swansong of Casiotone for the Painfully Alone. Stripped back and live it makes the indie electronica feel a lot more homely and real. Knowing those vocals are being sung by a real person makes a difference somehow. It made me very happy on a boring bus.
I'm not entirely sure of the heritage of this album. It seems to be a combination of music made for Ken Campbell's The History of Comedy Part One: Ventriloquism, and music made from it. A lot of it is a bit too rambly to be enjoyable in itself, but I can imagine it being great front of house and incidental music. Lots of tight loops, sampled dog barks, mumbles and mutters. And then Ken just going off on one. A good couple of minutes of him attempting "Who dared to put wet fruit-bat poo in our dead Mummy's bed? Was that you, Verity?".
This didn't make an impression on me at all. It wasn't unpleasant, but I just remember getting back to the cover of the Simpsons theme and thinking "Oh, so that's happened". It's guitars and drums and vocals hidden in the back of the mix, mostly. I'll listen to it again, but unfortunately not in lent.