Good Arrows, by Tunng (LP on Full Time Hobby)

Description:	LP on Full Time Hobby, FTH040LP	UK ORDERS OVER £50 SHIP FREE!
Format:	LP
Label:	Full Time Hobby
Price:	£13.79
Availability:	despatched in 1 working day

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What we say

Rating: ecstatic This record left our Phil feeling ecstatic.

alright. A new Tunng album. Always a special thing I'm sure you'll agree. From the off they've been one of those bands that have that 'certain something'. So how do they cope with the difficult third album? Tears For fears blew it with The Seeds Of Love. Will Tunng fair better?? I'm happy to announce they do. 'Good Arrows' is a total feast of lovelyness from start to end. The sound is much fuller now they've expanded to 6 members yet it still sounds sparse. I talk in riddles I do. It's all very folk still but what did you expect?? A tunng 'metal' album?? The lyrics are deliciously dark (at times) yet the music sounds absolutely gorgeous. I've always liked that contrast. 'Hands' is a perfect example of the light and dark thing the do blindingly well. There's some delicate sounds and electronics tinkering around the in the background but what you really notice is the vocals. The vocals are really full sounding and they burst through the receptacles of your brain like teeth biting through jelly. The tunes are excellent.... the Tunng knack of writing a melody is ever present and when the album is finished you're left with a nice warm feeling which makes you want to bang it on again. I love this record.

What the label says:

3 years back, Mike Lindsay had a studio in Soho in a basement below a clothes shop. Mike had been playing about with the studio equipment, making electronica and trying to make a living producing advert music, when he met Sam Genders, who was a bit of a singer-songwriter, used to doing gigs by himself. They had to go through the changing room to get down to the studio, then couldn’t get back out while the shop was open in case they startled naked ladies on their way out. Stuck down there, they found they had a great working relationship, and that their various influences fell together naturally into an amazingly coherent sound.

A year of ‘having a laugh in the studio’ together followed, beginning with People Folk - originally Mike’s song, which they then reworked and produced together. After that they wrote in all kinds of permutations, sometimes starting with a full song by one or other of them, sometimes just with a phrase or tiny idea and working it up together. Tunng’s first album Mother’s Daughter And Other Songs is very much the sound of this partnership as they bounced ideas off one another in their basement. An approach to Static Caravan met with a welcoming response, and Sam and Mike realised that Tunng was a project that could find a wider audience.

As work on what was to become that first album went on, their songs leaked out via friends. Inevitably ears pricked up as more people heard them, and quickly they started getting asked ‘would you like to do a gig?’ ‘Yeah… but we don’t know how!’ was the instant response – so they had to go hunting for like-minded spirits to take their unique sound to the stage. Sam made the choice not to play live, so Mike found Becky and Ashley to do his vocals at gigs, and Sam remains a mystery man in the shadows (or at least in Derbyshire, where he lives) – but still in every way an important part of Tunng, playing and singing on record and present in spirit at every gig.

Now, Ashley Bates, Phil Winter, Becky Jacobs, Martin Smith, Dave Lewis-Floyd all play with the band in one way or another – and have all contributed to the new album. Ashley has been involved with music ever since he drummed with shoegazers Chapterhouse as a teenager in the early 90s. Phil has been around DJing and making music on the electronica scene for an age. Becky sings live with her brother, the far-left-field electronic maverick Max Tundra, with whom she knocked Mike’s socks off at SONAR festival a while back. Martin is a multi-instrumentalist who ran his own label Loose Cannon, on which Mike released some of his earliest pre-Tunng groove experiments as Dirtbox. Dave is an eclectic cellist whose tones graced some of the first Tunng recordings and has been involved on and off ever since.

All this might sound tangled, but it’s an important illustration of the world which Tunng inhabit. They are every inch the collective, coming out of the fringes of scenes – fringes where people collaborate to survive. It’s partly the post-rave soundsystem ethos where everyone contributes according to their skills and wishes. Partly it’s the world of underground art music epitomised by SONAR festival where the idea of the band as singer-guitarist-bassist-drummer standing in a row simply seems an obsolete conceit. And partly it’s the folk model where people play together as and when they want to and songs are reinterpreted as they want – the model which is currently inspiring such fertile workings as the Fence Collective, the Green Man festival, Homefires and The Earlies.

So now Tunng exist as a tough little unit – Mike taking care of business, and his and Sam’s songwriting partnership at the heart of the sound, but with all the musicians adding their individual contributions to the new album ‘Comments Of The Inner Chorus’ on the Full Time Hobby label. Their remix-swap with Viva Voce – who have improbably turned the b-side of the ‘Woodcat’ single into horn-led funk – is just the start of the collaborations which are starting to spring from their meetings with like-minded freaks on the network of festivals and labels. Like Mr Benn in that strange old childrens’ cartoon, Mike and Sam ventured through that changing room door and have emerged transformed and ready for adventure.