If you go on the website of King Post Kitsch, you can get a free EP. A free EP! My favourite kind.
I’ve been thinking about my favourite albums and singles of the year since I was asked to submit my list to Peenko for the annual Scottish Bloggers and Music Sites Awards they do. In case you don’t know, Peenko asks all the active bloggers and music writers they know to submit a list of three albums and that’s compiled through averages and whatnot until they get a consensus from all the bloggers. I was going to hold this post back a few days, but since everyone else has fired the starting gun on their end-of-year lists, it can’t hurt to saturate some more.
So I’m a little late getting round to the King Post Kitsch album review, seeing as the entire Scottish blogosphere has got a hold of it and run off, like some irritating no-we-won’t-let-you-play schoolchild causing chaos amongst the lunchtime football game.
That doesn’t change the fact that you’re reading this, and that most people aren’t music hawks.
It’s an amazing album. Taking in noise rock, lo-fi, rock n’ roll and punk and smooshing it all together like the Vimto advert doesn’t sound wise but that’s what this is. The first brace of songs – Portland St Part 2 (anyone remember The Fall?) and the incandescent Don’t You Touch My Fucking Honeytone – are a brilliant ramp into the album, racking up the heat until Fante’s Last Stand quietly takes your breath away, with Neil Pennycook-esque vocals and a gorgeous revolving folk melody dancing in harmony. When it breaks into that twitchy distorted guitar that runs through this album like the Crags jag through the Edinburgh sky, the result is sublime.
Werewolf Hop sounds like the most totally realised track on the album; for that reason it and Fante’s Last Stand are my favourites. It peaks in just the right place; neither the splitscreen giddiness of Walking On Eggshells or the excellent slow-burning penultimate track, Portland St Part 1 represent a decline in the quality, rather a plateau.
It’s pretty darn excellent, will almost certainly be ignored by the wider world, and is a serious contender in my head for the best albums of the year so far.