A new sweeping solo record from King Creosote. A lot of the material on Astronaut Meets Appleman is quietly epic, with instrumental contributions from a range of talented players of a range of interesting instruments (e.g. bagpipes, harp, violin) all woven together into a potent whole. Out on Domino.
Vinyl LP £16.99 WIGLP385
LP on Domino.
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Limited Vinyl Double LP £24.99 WIGLP385X
Limited indies only Deluxe Edition LP on Domino. Includes single-sided/ etched 10".
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- Indies only
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CD £9.99 WIGCD385
CD on Domino.
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King Creosote is a Scottish man. I can’t be 100% sure at time of going to press but I think I’m fairly right is assuming he wears a kilt. There, that’s all our Scottish readers furious.
We’ve had a long standing …if not a beef…but a minor disagreement with large proportions of our customer base about the merits or otherwise of the King. We’ve never really seen his appeal but many of you angrily disagree. My dad tells me that his previous ‘From Scotland With Love’ was excellent and that you sorta had to see the film to fully get it so let me plough on with this regardless.
This latest record explores the juxtaposition between the traditional and the modern using things like bagpipes (so Scottish) against modernist digital recording techniques. Over the first two tracks this reaps dividends. ‘You Just Want’ and ‘Melin Wynt’ are both delicious slow burners which take their time in getting to any kind of point (if there is a point) but do so in a most enigmatic and mysterious manner. The key weapon in the Kings armoury is silence. On both tracks he keeps vocals to a minimum leaving huge gaps between the vocals which leaves the listener hanging onto every word. I love both tracks but ‘Melin Wynt’ is my favourite. As well as being the probably the first modern pop track to use bagpipes effectively since ‘Mull of Kintyre’ it has a windswept mountaintop feel that makes me want to run up Ben Nevis wearing nothing but a haggis.
All of which makes me wonder why ‘Wake Up to This’ is so cluttered. This is a return to the more traditional kind of King Creosote tracks I’ve heard escaping from 6 music over the years and is less effective as a result. ‘Betelgeuse’ starts with a really annoying lo-fi vocal over lovely strings rendering them inaudible but the track soon breaks out into the kind of blend of acoustics and traditional instruments that is the Kings oevre on this record. There’s plenty of pop songs dotted around, tracks like ‘Love Life’ are well put together but rather traditionally constructed with a lack of really interesting hooks. KC needs to do more than this to impress and the result seems to be an album that starts brilliantly before reverting pretty much to type. Not that this will be a bad thing for long term fans.
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