The Superimposers
8

  • The Superimposers
  • Little League
  • 2005-09-05

A true story (with hopeful ‘Hollywood ending’ tagged on): Boy meets Boy. Boys make beautiful music together, presented to the world in the form of rarest black plastic. In order to spread the word, boys collect their works of art in handy cd size for the masses. But, tragedy! The masses ignore their gospel! (Hollywood ending: album is re-released and sells 183 million marvellous copies, world peace soon follows. The end.)

…the duo are easily likened to The Earlies

The Superimposers are made up of two London-based, sometime producers, Dan Warden and Miles Copeland. Their eponymous debut brings together their first four ridiculously limited 7” releases, plus two brand new songs. It had a very low key release earlier this year, but is now being re-released with hopefully more of the impact that it deserves. The duo are easily likened to The Earlies. Both bands have a DIY ethic to their output; the songs are written by them, produced by them and released on their own label. Both bands respective first LPs document their obscure early recordings. But whereas the latter band sound something akin to a krautrock Lampchop, The Superimposers mines its inspirations from the varieties of sixties pop.

“Would It Be Impossible” takes Glen Campbell’s “Witcheta Lineman” and finds him in situation of unrequited love. “Seeing is Believing” would fit snuggly into the British psych pop of the Nuggets II collection, or in a Sergio Leone Spaghetti Western. The strangest track of all is “Trust Me”, a virtual cover of “Trust In Me” from the soundtrack to the Jungle Book.

…the best tracks sound as if Burt Bacharach had his hairy hand involved somewhere

This album is more than just a retro pastiche of a previous era’s styles. The subtle use of pastoral samples drifts through the songs giving depth to the orchestral swells and chiming guitars. The best tracks sound as if Burt Bacharach had his hairy hand involved somewhere, but if The Superimposers have one eye on the pop charts they also have one on the avant garde. I cannot imagine many other bands that have been courted by Atomic Kitten’s record label and also studied the 1950’s sound techniques of ‘musique concrete’.

A couple of the later tracks fall a little short of the heights set earlier on, but considering it’s a compilation (albeit from one band) it works well as a single body of work. The last track ends with “It won’t take too long, before we finish up these songs, then I guess we’ll just move on”. That sums it up really. Doesn’t take long, but it’s great so I look forward to the first album proper.

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