The Last Band Before The Internet

No excuses.  I just haven't done it in a while.

That's not to say I haven't had anything to write about, because that's not true.  I don't really go for the whole internet confessional/general dump of personal stuff on here, but I'm v. happy about the fact that Charlene and I got engaged.  If you're of that persuasion, we'd like a set of shelves that fit in our cupboard, a winning lottery ticket and a kitten.  Thanks.

Back on topic.

I said I'd write about the Lifter Puller reissues.  I got hold of them a bit back, and they're really amazing, but I find it hard to say anything about them that I haven't previously said.  Fact is that I owned (legally) the Soft Rock compilation and also (less legally) Fiestas + Fiascos and in those, you have just about everything you need.  Their self-titled début LP is probably a place to start reviewing (or babbling like a stupid fanboy, you decide) and it's kind of not as good as their later stuff.  If nothing else, it's a relief to say that instead of "it's not as good as their earlier stuff".  Craig Finn's drawly vocals show little of the bitter rants and lament-filled witticisms that appear later in his lyrics, and the music leans ever so slightly towards far more stereotypical American indie, and not quite far enough towards the beautifully dystopic choppiness of their later works.  The notable exception to this is the fantastic 'Star Wars Hips' and the slightly reminiscent of Sonic Youth 'Mission Veijo'.  Better was to come.  I'm listening to this album right now, and this reads like I'm being unfair - it's a GREAT album, but then so was Nirvana's Bleach, right?

Half Dead and Dynamite is a great name for an album, and for me this is were Lifter Puller really get going.  Choppy and more bitter than bittersweet.  'Sherman City' contains my favourite rhyming couplet of all time (see previous post title), and 'Nassau Coliseum' is insidious and nasty and sounds like a hangover.  As stated, I prefer this (and all their other releases) to their début and yet I can't think of that much to say about it.

The Entertainment and Arts mini-album came next, and much should be made of Tad Kubler's (later lead guitarist in The Hold Steady) taking over bass duties.  Things started to growl at this point.  From the 49 second opening blast of 'Plymouth Rock' to the 5-minute closer 'Let's Get Incredible', this is clearly the sound of a band hitting their collective stride.  There's also a slower, creepier 'Star Wars Hips', which shows the band's new-found mastery of their sound - they don't have to go "up" to have more impact.

Fiestas + Fiascos.  Definitely the end of something.  Not only does fictional nightclub The Nice Nice burn down, but so does the Lifter Puller sound, in the best possible way.  This completely brilliant record has their lightest, most accessible music, their choppiest, angriest stuff, and the weirdest bits.  It also contains some bits of straight-up rock and roll that can't possibly have been a precursor to The Hold Steady, can they?  If you only own one Lifter Puller release, please make it this one.

And that was that.  There's the rarities compilation Slips Backwards which is also great.  But yeah, a band that lived and died before I even heard of them.  Someone once told Craig Finn that Lifter Puller was "the last band before the internet", and that's probably why they're probably way more popular now, thanks in no small measure to the continuing successes of The Hold Steady.

Speaking of whom, Heaven is Whenever is out on May 3rd.  First time I've been excited about an album since Stay Positive.  I'm off to see them in Manchester on June 26th.  There is so much joy in what we do.