If Squeeze had been locked in a basement living only on rice and quinoa and with only an old Sports Illustrated to pass the hours, they might have written a pop song as wistful, plaintive and delicate as this.
Led by guitarist/vocalist Stuart Murdoch, the seven-piece band has an intimate, majestic sound that is equal parts folk-rock and '60s pop.Murdoch has a gift not only for whimsy and surrealism, but also for odd, unsettling lyrical detail which keeps the songs grounded in a tangible reality. As Jackson's guitar glimmers and jangles, Murdoch throws together idle youths in mise-en-scènes suggestive of cinema's French new-wave; with boys and girls piling into a bath together, sharing fluid relationships, and, in a suitably-symbolic instance, all heading to the cinema. The Life Pursuit wasn't Belle and Sebastian's finest hour, but the 2006 LP did sport this dashing, singalong ​pop song; a Murdoch-penned ode to romantic projection. Namechecking the biblical duo of Jonathan and David – evidently Murdoch’s religious imagery was contagious – it’s a sparky piano- and organ-propelled three-minute wonder with lots of unexpected melodic twists and turns. This lead to a string of keenly melodic, terrifically sad tunes with the depth and richness of well-crafted short-stories. With Sleep the Clock Around, Belle and Sebastian subtly reclaimed Scotland’s national instrument from AC/DC, Paul McCartney and Rod Stewart et al to genuinely stirring effect. After the schadenfreude of its first verse ("you're filling your fat face with every different kind of cake/if you ever go lardy, or go lame/I will drop you straight away"), Murdoch's song manages to be both a sad lament at the inevitable futility of fighting the good fight, and an unexpected rallying cry to keep doing the same. It’s also a collector’s item in the respect of being about as straight up a ballad as you’ll hear Murdoch pen – a love-drunk ode to eloping on a whim to San Francisco with a girl (his future wife) to watch a baseball match (who had him down as a baseball fan?). Locked out of the charts by new regulations on running lengths, and for reasons unclear the only Belle and Sebastian release never to be put out in America, it was eventually elevated from obscurity by inclusion on the Push Barman to Open Old Wounds compilation in 2005. © 2020 Guardian News & Media Limited or its affiliated companies. Murdoch gifted one of the test pressings of Tigermilk to his church minister, which seems appropriate, given that faith is an integral aspect of his songwriting – albeit in a way that’s far more whimsical and quizzical than preachy (not to mention often juxtaposed with profound impiety). The early days for Scottish twee-pop heroes Belle and Sebastian delivered some of the greatest songs ever penned by a lonely prat holed up in a bedsit. Piazza, New York Catcher is entirely atypical of not just that record (it was also recorded separately, back up in Glasgow), but indeed the entire Belle and Sebastian catalogue. The bagpipes have a chequered – by which I mean generally dismal – history in pop.

Suffering from chronic fatigue, B&S scribe Stuart Murdoch spent the early-90s peering at passersby out … Practically the ballad of the band, This Is Just a Modern Rock Song was the title track of a near-forgotten EP released in 1998 off the back of the burgeoning success of The Boy With the Arap Strap. It features Richard Colburn from Belle and Sebastian. Only, subsequent spins suggest (via lines like "I had a conversation with you at night/it's a little one-sided but that's alright") that this is indeed a song about an actual picture on the wall; a movie poster that provides a lonesome flat-dweller with an imagined companion.

Stevie Jackson’s songs, steeped in pop classicism, have become an essential component of every Belle and Sebastian album from The Boy With the Arab Strap (Seymour Stein) through to 2015’s Girls In Peacetime Want To Dance (Perfect Couples). After seven years and four studio albums in their Glasgow bubble, Dear Catastrophe Waitress saw Belle and Sebastian evacuate their comfort zone to make a high-sheen, brass-dappled album in London produced by Trevor Horn. In spite of its glinting guitar, warm-hearted woodwinds, and tender Murdoch vocal, "Slow Graffiti" is easily one of Belle and Sebastian's saddest songs. The opening track from their eighth album 2010’s Write About Love (they’re still great at opening tracks – see also Nobody’s Empire from Girls in Peacetime Want To Dance), I Didn’t See It Coming shuffles on a distinctive Richard Colburn drum beat, breezy piano chords and a twanging, star bright guitar riff. It's a question that's long challenged any self-aware, self-conscious hipster who's ever picked up a camera, put pen to paper, or pushed play-and-record: how to achieve authenticity in an ersatz era? ‘Tigermilk’’s mariachi ode to the trapped and abused young artist, on which B&S perfected the sound of setting yourself free. “If you are feeling sinister go off and see a minister / chances are you’ll probably feel better if you stayed and played with yourself.”. So, as a vague starting point, here’s our choice…. By using LiveAbout, you accept our, Top 10 Indie Band-Name Clichés of the '00s, "Judy and the Dream of Horses" (from 'If You're Feeling Sinister'), "String Bean Jean" (from 'Dog On Wheels'), "A Century of Fakers" (from '3.. 6.. 9 Seconds of Light'), "Slow Graffiti" (from 'This is Just a Modern Rock Song'), "Piazza, New York Catcher" (from 'Dear Catastrophe Waitress'), "Funny Little Frog" (from 'The Life Pursuit').

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