|1. Small Stakes|
|2. The Way We Get By|
|3. Something To Look Forward To|
|4. Stay Donít Go|
|5. Jonathon Fisk|
|6. Paper Tiger|
|7. Someone Something|
|8. Donít Let It Get You Down|
|9. All The Pretty Girls Go To The City|
|10. You Gotta Feel It|
|11. Back To The Life|
|12. Vittorio E.|
Often stripped down to keyboard and handclaps, teased effect-laden guitar and tight drum patterns, these songs show a pleasing economy--and it's a brand of minimalism that allows frontman Britt Daniel's enigmatic lyrics to take centre stage. There are some instant pop moments: "The Way We Get By" is a fluffy take on the hedonistic sentiments behind Iggy Pop's "Nightclubbing", Daniel singing "We found a new kind of dance in a magazine/ Tried it out, it's like nothing you've ever seen" in his honey-sweet drawl. But Spoon specialise in the unusual. "Stay Don't Go" keeps rhythm with a human beatbox and tambourine, while "Paper Tiger" is pieced together from back-phased effects and shivering violins. Adventurous but listenable, fans of the Flaming Lips and Pavement could do much worse than look to Kill the Moonlight. -- Louis Pattison
And yes, that's Texas as in Austin, "down here we like both types of music, country AND western", Texas. So, all things considered, it is perhaps surprising to find Spoon have crafted an album that sounds so terribly, terribly British.
This, like previous releases, is a distinctly lo-fi post-punk offering. Elvis Costello (Daniels is an ardent admirer) appears the most dominant influence. His shadow is most evident on "Someone Something" and stand-out track "Jonathon Fisk". The latter crunches through vengeful memories of playground bullying, religion and right-wing politics with "atom bombs and blunt razors" thrown in for good measure. All the stuff of classic Costello.
There are shades of Tim Burgess falsetto on "Something To Look Forward To" and "Stay Don't Go". The Piano driven "The Way We Get By" is a touch sprightly Badly Drawn Boy and even Britt Daniels' vocal inflections seem affectedly British on opening track "Small Stakes".
"Stay Don't Go" features human beat box which, despite sounding vaguely Rolf Harris, reveals a desire to split from the classic rock mould. There is an air of tenderness and sincerity about the record, reflected in the sentiment "I will be there when you turn out the light" on "Paper Tiger". There's also sufficient angst in tracks such as "All The Pretty Girls Go To The City" to satisfy the indie audience's traditional demand for woe. A total reliance on fuzzed rhythm guitar is averted by recourse to keys and samplers. All of this marks a departure for Spoon and distinguishes this LP from the efforts of other US White Strokes indie rock outfits.
The mood of Kill The Moonlight is essentially laid back yet the pace is frenetic - twelve tracks in just thirty-four minutes. The loops and riffs are crude and chunky, as indeed they should be. Songs are constructed around a strong, coherent melodic core. The only real anti-climax is the fact that it is all over way too soon.
This band has suffered their fair share of bad luck in the past; they were dropped by their previous label after only four months for example, but with Kill The Moonlight, they have produced an album that really should bring them the success they deserve. Spoon might at times sound jolly British but they are frightfully good at it. Charmed I'm sure. --Daniel Pike
Find more music at the BBC This link will take you off Amazon in a new window
My only serious complaint with this album would be the brevity of the songs - just as you're getting into some of them, they're over, and they tend to end quite abruptly. The cumulative effect of the tracks changing so rapidly is a bit like being beated around the head or pulled in opposite directions, and can get a bit grating. However, don't let that put you off one of the best albums 2002 had to offer.
This product's forum
Active discussions in related forums
Search Customer Discussions