Published on May 20, 2003
There’s an inevitable comparison to the Verve’s
Bittersweet Symphony on “She Kills For Kicks,” but I’m sure
this isn’t the first time they’ve heard that. Some have referred to
AC Acoustics’ last full-length release as “the most accomplished
British rock record of the year,” so they already had quite a bit
to live up to on their sophomore release. With a dreamy, usually
slanted sound that always seems like a soft-focus shot of something
you’re positive is beautiful; if only you could really see it. AC
Acoustics are many, many things: among them, a more dependable
Teenage Fanclub, Smashing Pumpkins without the whiny vocals,
Richard Ashcroft’s old band minus the pretentiousness (they were
the new U2 for a second, right?), and a Spacemen 3 with better
songs.
AC Acoustics proves ready to go even further inside themselves
for
Understanding Music. Insular music that shouldn’t really be
played at football match after-parties. Great production, and
you’ll swear the mics were under water for some of this. These
Scots bring out what people only wish My Bloody Valentine still
did. Dark, atmospheric, guitarock with a hint, maybe, of The Eels
in the vocal department. Sometimes. A somber, quiet CD that will
grow on you after a little while. Wavery, clean guitars, keyboards
that are used for keeping the background of each song vibrant, even
when the songs are languid, or just plain slow and moody. Not
unlike Pink Floyd minus the grand statements.
No self-indulgence either. Their single “Crush” is what it seems
like so many band wanna be doing now. Now that the immensely
overrated Radiohead have decided to release three CDs of themselves
fucking about over the course of the next year. It touches the
sequenced/Garbage-y side, the indie-rawk angle, has Catherine
Wheel-isms, Ebrace-like moments and a winsome, yet despondent
lyric. I love The Catherine Wheel, so that was a compliment. That
isn’t to pidgeonhole AC Acoustics in any way. I am saying though,
that if you do enjoy those bands,
Understanding Music is an excellent continuation on the
themes that they all approach. Embrace are too busy being “epic” to
write songs like “Waiter Strains” anyway.
Understanding Music is a great title, but I didn’t really go
for the artwork, which seemed kinda last minute. “I lost the
cover!” “Right! I’ll do ya something real quick.” Seconds later.
“Ummm…thanks.” Otherwise, this is a sleeper hit; a sleepy
one at that. Great for going to bed and listening to on a cold
night. Narration about Oscar Wilde, and sleeping elephants on the
almost instrumental “Dry Salvage (God Knows My Name).” “She Kills
for Kicks” really stood out on this, their third album, and it’s
amazing to ponder that AC Acoustics have now existed for over ten
years. Now if they’d just incorporate some hot dance moves into the
for-the-moment-not-quite-ready-for-hot-tub-anal-action “Knot of
Knots (That There is no Untying).”
A 1991 split and reunion actually stripped their songs down,
even though there’s still quite a bit going on. They sacked a
violin player, and have enough spacious sound that you won’t even
notice the absence. Singer Paul Campion is haunting without seeming
put-on or silly. The guitars are ghostly on tracks like “B2,” and
ringing on the rocking, anxious “Supercup.” Founded in Glasgow in
1990, this band have been under-appreciated for far too long. With
a record as good as this one, you’ll wonder where former Fanclub
(Teenage) bass-player Gerry Love went and why? Even though he only
did backing vocals on their ’93 Sweatlodge/MV single.
They recorded a mini album in ’94, the seven-song
Able Treasury, and garnered more kudos. The
Hand Passes Plenty EP was brought out a short while later,
and continued their critical acclaim. Ten years since they began,
ACA is probably more vital than they have ever been, and they’ve
managed to remain prolific when EMF begat those attractive
I-just-shat-my-pants-and-no-one-knows baggy-trousers, which gave
way to Brit-Pop, which begat… Maybe the world will be ready
for them finally.