In My Little World, Life Lies Upon The Floor

Around the year of 1998, or perhaps ‘99, there was a small, used record store tucked away in a strip-mall in the city of Costa Mesa called Doug's Discount Records. I used to go there after my classes ended at the nearby Orange Coast Community College, where I spent my last two high school and first two college years. Though it wasn't a very popular shop, especially in comparison to the more punk-catering Noise Noise Noise and Vinyl Solution, they had a pretty massive array of used vinyl. The real kicker was the fact that it was the only music vendor in the area that actually had listening stations. You could dig up a pile of records based on cover-art alone, and just spend your time researching the sounds on each one.

One day while pissing away some time at Doug's, I came across several LPs by Echo & The Bunnymen. Up til that point, I'd only ever really heard the band's name in passing conversations - most likely ones revolving around the topic of Joy Division or The Smiths. I can't recall if anyone in specific had suggested I check them out, or if it was my own curiosity, but one way or another, I popped them on the listening station turntables. My immediate impression wasn't one of awe, but I found enough interest in the sounds that bled through the headphones, within a minute or two of listening, to purchase them that day.

Now, to be honest, once I'd purchased the vinyl, I'd only given it several plays over the course of the next couple of years. It must've gotten overlooked by the constant influx of music flowing through my audio peripherals. However, somewhere around 2002, I started to really go back and take a thorough listen to Ocean Rain on account of “The Killing Moon” being featured in Donnie Darko. From there, my appreciation for Echo & The Bunnymen increased to the point where I now consider them one of my all-time favorites.

If you don't already know much about their music, there isn't much I can really say that will somehow magically make you understand. They were part of the UK's explosion of post-punk bands that formed in the late 70’s, but blew up with the rise of new wave in the 80’s. Ian Mcculloch, the band’s vocalist, was the object of affection for many a trench-coat clad teen during their heyday, including one Ms. Courtney Love (who has openly admitted to having a borderline stalkerish crush on the man). However, what really set them apart from the pack was their fusion of melancholic tones with a more pop-oriented jangly bounce. McCulloch was also one of the strongest vocalists from that whole scene, and he could go from heavenly, Bono-esque coos to Nick Cave-like barks to Bernard Sumner-ish breathy mutterings.

(Photo of Ian McCulloch taken from Last.fm)

(Photo of Ian McCulloch taken by Phillippe Carly)

(Photo of Echo & The Bunnymen taken from Last.fm)

(Photo of Echo & The Bunnymen taken from Last.fm)

When Echo & The Bunnymen split at the end of the 80’s, McCulloch went on to do what most expected him to do - pursue a solo career. He released several independent efforts, the most successful one being his first, Candleland. While I’ve covered mostly the Bunnymen’s tracks up until the point, the real basis of this post is to point out the beauty of that said record. Candleland was an amazing return-to-form and featured 10 terrific tracks, none of which felt like filler. The album expands on some of the Bunnymen’s electronic tinkerings, incorporating more of New Order’s approach - with songs all backed by pulsating dance-like drum beats. From the opening of the tender “The Flickering Wall”, with its Peter Hook-like bass lines to the down-right pop infectiousness of “Proud To Fall” and “Faith & Healing”, to the Brit-pop predecessor “In Bloom”, every song was single-worthy and on-par, if not better than, the best of The Bunnymen’s LPs. Candleland is criminally overlooked and underrated, in my humble opinion, and only further proves McCulloch’s relevance when compared to modern-day post-punk acts.

(Echo & The Bunnymen’s Ocean Rain and Ian McCulloch’s Candleland)

Despite the inevitable reunion, The Bunnymen and McCulloch haven’t really produced anything as noteworthy since Candleland last made its mark. However, there is indeed a new crop of bands pooling in the UK who openly acknowledge their brilliance, and proudly wear the influence on their sleeves. First up is Chapel Club, a London quintet who are starting to make some real noise and have already been snatched up by A&M Records in their home country. They match subtle yet well-emphasized vocals with some gorgeous guitar work that blends just the right amount of post-punk's mood with shoegaze’s atmospherics. They currently have two singles out, both of which feature stunning A-sides in the form of “O Maybe I” and “Five Trees.” The latter of the two tunes has even gained attention from The Horrors, who have offered up a remix version of the track.

(Photo of Chapel Club by Ben Rayner)

(Photo of Chapel Club taken from their Myspace)

(Chapel Club’s O Maybe I & Four Trees 7" singles)

The second band is the oh-so eloquent Red Drapes, also based out of London. This four-piece err more on the melancholic side of the spectrum, and fuse book-worm lyrics with reverb-drenched guitars and restrained sonics, bringing to mind early Interpol if fronted by a Morrissey disciple. They’ve self-released a limited-edition 5-song CD-EP that comes in one of the most handsomely created, hand-packaged sleeves I’ve seen in a while. While the band is currently pushing the lead track “Reflection” as their single, my favorite tune on the EP is another slow-burner called “Hush Now The Dockyard.” Completely without exaggeration, this EP is the second-most listened to record I’ve purchased this year (the first being Grouper, of course). The band have openly expressed their love and adoration of the early post-punk pioneers, and cite Echo & The Bunnymen as one of their primary influences. While I do hear the traces of said inspiration, Red Drapes manage to pay homage but still carve their own original take on the genre’s mope-filled mold.

(Photo of Red Drapes by Dan Wilton)

(Photo of Red Drapes by Wash-Out)

(Red Drapes self-titled CD-EP, limited to 100)

Both bands are picking up a lot of praise over the pond, and with any luck will receive the same response from U.S. audiences. I’m not holding my breath for them to take over America, as this country isn’t nearly as developed in musical taste-making as the UK – but I think both could do reasonably well if their music is exposed to enough eager ears.

For videos from Chapel Club, Red Drapes and Ian McCulloch, check these earlier video-drop posts here and here. It’ll be worth your time, I promise.