Hacker’s still ploughing that punk-country furrow, dipping into a fluorescent, seagull-proof binbag of influences (CSNY, Doctors of Madness, Kinks, Velvet Underground) and showing off what he pulls out to an audience in the pub.
Hacker has this little strut that plays off Anne’s calm very well. Like a rooster in the yard he inspects all elements in the band, ensuring all is present and correct before turning his beady eye on the audience.
The problem in the music scene is that there’s too much conformity, everybody just copies everybody else in an effort to be cool, I would say being un-cool always trumps being cool as it lasts a lot longer.
London exerts a considerable force on this record; it could be made in no other city.
Sequin Smile and Ordinary Pleasures are bedroom reflections that are about as Serge Gainsbourg as you get; (one can’t help noting the faux Bonnie & Clyde poses on the cover artwork too).
Pip wearing different hats to portray different characters in one song, Dan holding up props in another. The music does get away from the gameboy sounds, thankfully, as it quickly becomes clear to me that although Thou Shalt Always Kill is the attention grabber it's not their best track by a long way.
"What Morton Valence do then is make epic songs of varying length but unvarying style - whatever groove is set at the beginning of the song tends to be the same groove in the middle of the song and at the end of the song with extra instruments adding themselves to the mix occasionally to give a sense of dynamism."
"I'm having dark visions of blokes with berets and goatee beards, smoking French cigarettes, reading Kerouac and Anias Nin, drinking black coffee in the New Piccadilly, fantasising over Joyce Grenfell and wondering why they never get shagged.
We prefer the shallow types!"
Morton Valence were recently billed as having "the greatest singing pervert since Serge Gainsborough" within their ranks. I am happy to report this is completely true.