Posts Tagged ‘porky prime cuts’

Postal Blue at Porky Prime Cuts

The surprising thing is that Postal Blue sound so English, despite coming from Brazil. I would’ve expected hints of Tropicalia and Latino dance beats but this is as joyous, and indiepop, as it gets. There’s not even a word of Portuguese;Of Love and Other Affections is sung entirely in English.

It’s the latest release by the wonderful Jigsaw Records label and mail order company, purveyors of fine records, cassettes, fanzines, etc etc. Postal Blue have been around since the late 1990s, and while there’s been numerous EP’s released under the name, only one full collection of songs, and that was in 2004. It seems the band is now essentially one person, Adriano Ribeiro, who has a love of Sarah Records.

I’m transported back to north-east Scotland in 1986, listening to the Orchids, the Flatmates, 14 Iced Bears et al on the John Peel Show, staying up to 11pm, taping some of it on a mixtape that would have also contain sounds from Zimbabwe and Haiti.

All ten songs are gloriously harmonic, replete with groovy guitars and easy-on-the-ear hooks; I can’t readily pick out any particular songs, they’re all good.

Buy from here:


Fireworks at Porky Prime Cuts

PORKY WAS DELIGHTED TO recently receive a copy of The Primitives’ first album of new songs in humpteen years.

Until then he had almost given up hope of hearing pure pop again, then The Fireworks’  Switch Me On (Shelflife records) was dropped in the mailbox by a hard-working postie due to become redundant any day now. Damn you technology. And corporate greed.

They clearly have a record collection devoted to jangly guitar bands stretching from The Byrds through to the Bobby McGee’s, and like all the best shambling bands take the best of garage punk and the very worst of The Osmonds.

They know how to hit the guitar strings hard, and do with some oomph on the opening two tracks, With My Heart and Runaround. I fret at the pace of this album, as I’ll be out of breathe by track six if this continues. But on Let You Know, the Fireworks become a sparkler; it’s a fantastically melodic, short track that, like the Prims, is a belter with its heartfelt, plaintive vocals and tidy drumming. It’s full of summer, and a summer spent on the beach getting a tan and watching the love of your life waltz by.

A great aspect of this London four-piece is the alternating girl-boy vocal interchange. Matthew Rimell takes charge of the mic on Let You Know, and Which Way To Go, which with its chainsaw fuzz-drenched feedback and distortion pedals is somewhat reminiscent of early Jesus and Mary Chain. Elsewhere Emma Hall takes charge. This egalitarian method works perfectly with both having different attitudes toward singing.

Switch Me On is my end-of-winter upper, a fantastically unpretentious, superfast with slower bits, dreamy pop supersized album. Play loud. Anyone remember the Shop Assistants?


Primitives at Porky Prime Cuts

THE PRIMITIVES HAD IT ALL in the fag-end of the 1980s: harmonic pop songs serenaded by the photogenic Tracy Tracy, an accomplished Primitivessongwriter in Paul McCourt and those songs: Crash, Stop Killing Me, Really Stupid and Thru’ the Flowers.

They arose from gloriously cultish indie pop band to a hitmaker. Their biggest hit, Crash, was also their finest moment, and was all over the shop in 1988 in Britain and offshore. Lovely, their debut album, captured the hearts of Madonna-loving teens and Beatles’ obsessed boomers.

Alas, the attention-span of their new found friends was want to drifting off, and despite some excellent singles – You Are The Way is one of the most under-rated singles of the early 90s – they gave up the fight against a fickle population and retired in 1992. Not much was seen since of any of them thereafter, but they returned in 2009 for a one-off gig which, of course, turned into something more tangible. I’ve heard some favourable things from my Liverpool correspondent about their gigs in the north-west.

Spin-O-Rama (Elefant records) is the second comeback release following the cover-heavy Echoes and Rhymes of 2012, and is their first batch of new material in 22 years. Neither those who have Lovely, nor those who insist their pre-Crash singles were the best thing they ever did, will be torn by Spin-O-Rama: it’s a non-stop pursuit of all that is good about music.

The opening title track sets out its stall early: pounding riffs, gorgeous vocals and the sound of a band glad to be together again; there’s hints of Crash in the pace and jollity of it all and it shouts for attention from the roofs. Hidden In the Shadowshas the trashy, edginess of one of the 1986/87 singles, complete with frenetic verses and a rousing chorus. This is pop at its finest.

Prims 2I’d almost forgotten that some of the Primitives finest hours were when songwriter Paul (PJ) McCourt took charge of vocal duties, and Wednesday World is awash with his magnetic timbre as tells us how he “feels nothing in the rain”. My personal favourite is another McCourt-led charge,Work Isn’t Working. This doesn’t give the impression of having taken too long to write, but will resonate with every workshop fop, creative sort and bohemian in the world: “I wasn’t made for lifting things or digging up the ground/ I never want to follow orders or to knuckle down/ I wasn’t born to stand in line, I like to sit around,” and off he goes to clock out … for good.

All other tracks are chirpy sing-alongs, with buzz saw guitars, tight drums, barking bass and lyrics that don’t aim too high, then they sign-off with a brief reprise of the title track, which makes you want to press play again.


Close Lobsters at porky prime cuts

MEANWHILE, A BRIEF mention for a Close Lobsters single (as Porky tends not to bother with singles), the two-trackKunstwerk In Spacetime EP (Shelflife records), on glorious 70-gram maroon vinyl.

It’s the Scottish indie bands first release in a quarter of a century, and arrived at Porky Towers, rather curiously, a couple of days after I rediscovered their two classic late-80s albums, Foxheads Stalk This Land and Headache Rhetoric.

Now Time and New York City In Space are both classic Lobsters, pop sensibilities mingling with the post-punk influences they were exposed to in the pre-C86 days; it’s the sound of Postcard Records meets The Fall.