MewithoutYou - Ten Stories

This week MewithoutYou announced that they were splitting up, which was sad news. I took far too long to get into them properly and have only seen them play festival/support sets. I got their first two albums in 2007 when I first heard them and then neglected them entirely for five years until I found their fourth album in Banquet one afternoon. I can't blame anyone but myself for that; I imagine I missed out on seeing them play some incredible shows in the UK in the years between. Still, I can be pleased I did get to see them, that I had such a great time the two times I did see them, and that I can go back to their back-catalogue whenever I please.

In 2016 Big Scary Monsters put out this lovely reissue of their fifth album from 2012 and I picked it up in amongst a fairly large order of other albums I'd been meaning to pick up for a while. I didn't play it straight away, but I was into it as soon as I did - throughout there are highlights, like February, 1878, Cardiff Giant and Fox's Dream of the Log Flume (a song that could easily fit on their first two albums), but it was the closer, All Circles, that really stood out on the first play, and became the reason I played it a lot in the following weeks - I love the simple repeating lyric: "All circles presuppose they'll end up where they begin / but only in their leaving can they come back round". The brass instruments in the outro of Nine Stories is an inspired choice too. In the three years that have passed since then, it's probably become the MWY album I turn to most often, although they all get a good amount of play.

Format: 12", picture sleeve, booklet
Tracks: 11
Cost: £15 new
Bought: Big Scary Monsters website
When: 07/03/16
Colour: Blue splatter
Etching: none
mp3s: Download code

Braid - Frame & Canvas

I've noticed a few things in recent years: that there are a lot of emo albums that people consider to be absolutely classic, essential albums; that different people often have entirely different sets of albums that have such accolades; and finally that if you didn't hear those albums at the right point in your life, you can't understand why people hold them in such high regard.

I love Texas is the Reason and Miracle of 86, but I've played those albums to people who should, in theory, also love them and watched them be thoroughly underwhelmed. Frame & Canvas is a perfect example of this in the other direction.

In 2013, Banquet announced that Braid were going to Frame & Canvas in Kingston, and people got extremely excited. A lot of these people were ones whose opinions I hold in high regard, so I thought I should get tickets and see what all the fuss was about. A few weeks before the show, I picked up this copy of the album, so I'd at least have a reasonable idea of the songs. I enjoyed the album, and had fun at the show, but definitely never felt I really got why everyone was so excited. I watched them again at Fest that year and still wasn't really that into it. Eventually I had the series of observations in the first paragraph and concluded it was a time-and-place thing, and I was in neither when I heard Braid.

All that sounds a bit negative. Frame & Canvas is a perfectly fine record. In fact, it's quite enjoyable in places, but I don't consider it essential in the slightest. They hit up a lot of things I enjoy - layered vocals, odd shouts, generally interesting music. They're not so big on memorable choruses, which doesn't help crack into the album. Consolation Prizefighter is pretty good, but it's late in the album to finally have such a thought. I've probably just not given it all enough time, but it's had a good number of plays over the years and after a while you just have to accept that sometimes you're not going to get an album. I've decided Frame & Canvas is one such album. Ask me again in another six years and maybe I'll have finally got it.

Format: 12", insert
Tracks: 12
Cost: £15 new
Bought: Banquet Records
When: 18/07/13
Colour: Black
Etching: none
mp3s: Download code

The Murder City Devils - In Name and Blood

It's 2019 and The Murder City Devils remain in the list of occasionally active bands I'd love to see but still haven't (along with Snapcase, Hum and The Blood Brothers - the list hasn't changed in years, despite all four playing shows in US in recent years. One day I'll see them and I'll hopefully have a great time).

In Name and Blood was the last of the original Murder City Devils albums I got (The White Ghost... hadn't been released and they were very much broken up when I was getting into them). I got Thelema, Empty Bottles and the live album, R.I.P., in 2005/2006 and loved them. A while later I found the self-titled album and it became a stable in the kitchen of our house in Cardiff - that album acted as a little revival of the band for me and I was very pleased to find this album in Spillers one day early in 2009. The albums had been reissued on coloured vinyl and I was very pleased to add it to my collection.

I knew a bunch of the songs from R.I.P., but there are some great songs that weren't played at that last show - Bunkhouse with it's excellent chorus ("If you don't think that cowboys cry / Then you ain't never heard a cowboy's song"), Someone Else's Baby and Fields of Fire. Of course, Press Gang, Idle Hands and Rum to Whiskey were all highlights from the live album, particularly the last one, so I knew them well. There's also a couple of covers thrown in - Neil Diamond's I'll Come Running (for some reason) and two much-more on-brand Misfits covers - Hybrid Moments and She, although the latter is not listed on the sleeve. Goes without saying that MCD's organ-heavy sound and The Misfits make quite a pairing.

The band had a slight stylistic shift over the years, so much so they considered the Thelema EP part of the reason they broke up, but it's a very gradual change - in my mind (and ears), the self-titled album and Thelema are the extreme ends, but Empty Bottles and In Name and Blood are quite similar and a very strong pair of albums. All that said, if you like any of their music, I can't see you not liking the rest.

Format: 12", gatefold sleeve
Tracks: 13
Cost: £11 new
Bought: Banquet Records
When: 18/03/09
Colour: White and red splatter
Etching: Side A: "Look upon your city, enjoy the sight..." Side B: "For it will soon be rubble and bleached bones"
mp3s: Download code

The Computers - Love Triangles Hate Squares

What happened to The Computers? They seemed to be on the edge of breaking through to being quite huge, and then just vanished into thin air. The last time I saw them they were supporting Rocket From the Crypt and the time before that they had every person in McClusky's getting into their thing; the album they released after this one was produced (or recorded?) by John Reis, which is a pretty deal by most people's standards. (That said, I didn't buy that album, so maybe I'm part of the problem.) There was a whole load of hype about that album, then they went quiet almost as soon as it came out. There was no "the band is over" message, just a fade into oblivion.

There was an argument from the very beginning that they were style over substance, but it worked - wearing matching red shirts and trousers, or these swanky suits or whatever followed certainly got them noticed. And live you couldn't help but buy into Alex's conviction; I never saw them play a bad show. These songs sound nothing like the band that I got into on the first EP, but as I mentioned before, I'm ok with that. Love Triangles Hate Squares is a million times catchier than the punk-rock songs they used to write and you could play this album in most situations and people would be ok with that - You Can't Hide From The Computers doesn't go down so well on the hifi when you've got your wife's friends over for dinner as this one does.

I definitely like these songs (except for C.R.U.E.L. which has a very annoying chorus) - they're too catchy to not like - but I feel like I shouldn't. It's a strange one. I wonder what I'd have made of them if I hadn't been introduced to them as a punk rock band (I met them before I saw them - they were friends with Rez from The Cut Ups and were staying at his house in Cardiff one evening when we were round there). The cynic in me suspects (/knows) I would have written them off as a gimmick. I like to think I'm better than needing bands to have proper punk-rock credentials to be enjoyable, but it turns out I'm not. I definitely wouldn't have given them the time of day if I'd been introduced to them through this album. I'm a bad person, I know that. I'm ok with that.

Format: 12", picture sleeve, poster, numbered (#1731)
Tracks: 11
Cost: £12 new
Bought: Banquet Records, Kingston
When: 18/07/13
Colour: Red
Etching: none
mp3s: Download code