Tigercats - Mysteries

Irgendwo habe ich kürzlich gelesen, dass sich Throw That Beat In The Garbagecan wiedervereinigt haben und an einem neuen Album arbeiten. Das wären tatsächlich tolle Aussichten, wenn sie sich bestätigen sollten. 

Wie bekomme ich jetzt die Kurve zu den Tigercats, einem aus London stammenden Quintett, das erst sein zweites Album veröffentlicht hat? Eigentlich gar nicht so schwer, denn "Mysteries" erscheint über Fortuna Pop!, was schon fast eine bestimmte musikalische Ausrichtung vorgibt. Und in diesem Fall (Indie-/Twee-Pop mit Girl/Boy-Gesang) tendieren sowohl Throw That Beat als auch Tigercats in die gleiche Richtung. 

Auch bei den Engländern gibt es mit Duncan Barrett einen Komponisten, Sänger und Gitarristen mit leicht nasalem Gesang, der immer wieder an den richtigen Stellen von weiblichem Gesang unterstützt wird. Dieser stammt von Laura Kovic (Keyboards, Gesang), die zusammen mit Barretts Bruder Giles (Bass), Johnny Evans (Schlagzeug) und Paul Rains von Allo Darlin' (Gitarre) die Band vervollständigt. Zudem ist auf "Mysteries" Terry Edwards (Tindersticks, Gallon Drunk) auf einigen Stücken an der Trompete bzw. am Saxophon zu hören. 

Da Giles Barrett in den Londoner Soup Studios arbeitet, konnte die Band dort viel Zeit verbringen, was dem DIY-Charme leider etwas abträglich war (das ist Throw That Beat erst mit ihrem vierten und fünften Album passiert). Ein wenig mehr rumpelnde Gitarren wie in "So Haunted" hätten dem Album ebenfalls gut getan. Insgesamt ist die zweite Hälfte mit der Single "Sleeping In The Backseat" oder auch "Too Sad To Tell You" und "Wendy And Lisa" besser gelungen als die erste. 

Distortion is aplenty, albeit less heightened, and there are still aspects of adolescent grievances here, but there is a new-found introspection present, evinced on the downbeat brilliance of "Too Sad To Tell You" and "Sleeping In The Backseat" which, even at its most soporific, has its hurried indie disco moments. 

Mysteries triumphs within its predilection for melody and nuance: "Wheezer" and "Too Sad To Tell You" both predominate in terms of juxtaposition; the former’s brass inclusions add joyous, contemplative warmth - thanks to prolific collaborator Terry Edwards - while the latter exposes the band’s propensity for beautifully adept songcraft and accomplished guitar work. Its seeming 'downfall' is in its unassuming quality that shares a likeness with many other bands of the indie pop persuasion. While there's nothing wildly new here, Tigercats aren't the kind of band to try and woo you with effusive tricks and surprises, and all the better for it. 

Subtly recalling some of the softer moments of C86, singer Duncan’s salient vocals are still a distinctive aspect, and they're particularly lovely when interplayed with keyboardist Laura’s. While Isle of Dogs retained a jauntier, elemental and traditionally indie guitar-pop formula that deftly captured youthful petulance, Mysteries is its more confident, cultivated counterpart. In short, they’ve honed their craft and matured without eschewing their admirably innate pop sensibility.

(The Line Of Best Fit)

‘Junior Champion’ kicks off proceedings, it’s upbeat guitars chiming, the tone is spot on. It seems to be a song about playing chess but not quite to grandmaster level, losing pieces down the sofa, great kissing and most of all the thrill of being with someone you really want to be with. The song playfully bounces and skips, both Duncan and Laura’s vocals perfectly pitched together. It’ll leave you smitten and it’s immediately Check in favour of Tigercats.

‘Laura and Cesar’ slows the pace to a pleasant stroll. It’s one of two tracks with Laura on lead vocals (the other being ‘Sleeping in the Back Seat’) and is reminiscent of the Pastels most recent album which can only be a positive. ‘King of Vic’ is a bit of a departure from previous Tigercats, sounding like of a less bombastic Arcade Fire. It’s drama is brilliantly done.

First single from this album, ‘Sleeping in the Back Seat’, is a half-asleep tale of touring, waiting, staring out the window, endless roads, missing loved ones, familiar songs on the radio. It rolls along with a beautiful yearning, its hook will bury itself in your brain. It sounds like a hungover ‘Enola Gay’. ‘Wendy and Lisa’ is a slow, wistful story of regrets and apologies. It closes the album in a delicate, sombre mood.

There are no weak tracks on the album. It represents a more polished, confident sounding band. One that have grown up a little (but not too much) from the fun of their debut album. It’s still indie-pop at heart and, like any of the best examples from the genre, it whisks the listener seamlessly through feelings of joy, despair and overall contentment.

(Overblown)