It’s hard to believe its 16 years since The Tindersticks first released ‘Patchwork’ as limited edition 7”. Even harder to believe it’s that long ago since I attended Uni (all be it one year. In fact it was probably bunking off to buy records such as this one than caused me to drop out!
It’s difficult to put a finger on exactly what it is about The Tindersticks I love so much, it’s probably a combination of things. The fact that they are an acquired taste, praised and damned in equal measures. Stuart Staples rich tones, gravelly, sometimes not quite hitting the notes, a distinctive hard to place vocal that falls somewhere between Leonard Cohen and a London club singer from the 60’s who has struck upon hard times. The emotive score and arrangements of their orchestration, a unique melancholy that shows a deep affection for John Barry’s sweeping soundtracks and many other classic 60’s and 70’s musicians from Glenn Cambell to Jacque Brel. Then there’s the lyrics. I defy anyone able to tell a truly more depressing monologue than Staples ‘My Sister’!!
The Tindersticks appeal to the pretentious component within those who like them, and for those that don’t, it’s that very pretentiousness that puts them off. But I’m guilty as charged. I find the musical and lyrical snobbery strangely appealing (but that’s what daytime radio 1 does to you).
After a break of 5 years the Tindersticks have re-emerged. It was a much needed rest. 2003’s ‘Waiting For The Moon’, though impressive, it was clear they had lost some of their sparkle. It was business as usual and the ‘going through the motions’ routine was becoming a little too obvious. Staples released a solo album in that time, a stripped down almost soul affair that saw him revaluate his position. I’m convinced this project made it possible to write and record The Tindersticks 7th album and possibly their best in over 12 years!
‘The Hungry Saw’ begins as it means to continue, letting us know from the outset that it’s dressed to impress, a mood setting piano intro leads straight into a soul/bluesy number. ‘Yesterday’s Tomorrow’ awash with flats and sharps, displaying Staples heart aching vocals delivering long overdue desperate misery. The following track, ‘The Flicker Of A Girl’, with Echo’s of early Scott Walker , breezes along a folk melody, vaguely upbeat but kept in its place by Staples Baritone vocal.
The 60’s psychedelia soundtrack inspired instrumental ‘E-Type’ complete with trademark organ and mystical female backing vox, will have the most hardened of Tindersticks fans beside themselves with excitement (yes that is possible). The Beauty of ‘The Hungry Saw’ saw is the bands compliance to look at where it all started for them and retrace their steps, incorporating classic moments whilst embellishing it with new ideas an influences. The need to break away from what they were once loved for is no longer an issue. Here we have 12 songs from a band comfortable being themselves. This is never more apparent than on ‘The Organist Entertains’, another instrumental reminiscent of the 95 period, evoking images of a ghostly figure playing an organ in an old deserted seaside cinema, it’s steeped in nostalgia and eerie beauty. The title track takes us back to the blues with an almost motown arrangement, The lyrics depicting the loss of a girlfriend to a suave and attractively dangerous man about town, described in Staples colourful way. “The First cut is the skin second is the muscle then there’s a crack of the bone and he’s at your heart”.
To say The Tindersticks have come back with a masterpiece would be an understatement. In an age where a band is lucky to get their debut album out before being unceremoniously dropped, these guys are one of few acts able to command a following of considerable size and consistency. The Hungry Saw won’t do much to alter that!
9/10
James Heward
Summercase festival, Barcelona
