One For Kenny sounds like a tourist Odyssey on dope, shumbling from coffee shop to coffee shop, more and more buggered off Nederweed whilst completely lost in a sea of tourist crocodiles, pimps and pissed up ex pats.
Well I never thought I’d fall for one of those soulful dance LPs, but I have. Cellar Door is a winsome LP, a mix of nice ambience and the sort of lounge, housey things you used to hear in about 1999 or 2000 in coffee shops or parties where girls, (doubtless pretty, elfin, and painted with symbols) emote bland vocals over a New Agey beat: with the second track, Shine, we have “Let it shine, “we’re in this together / your love and mine”, fair enough, kid. But stay with me, stick in there: this LP is on the marvellous Smalltown Supersound label which have been banging out weird dance LPs for a good number of years now. And it turns out that Idjut Boys were behind the Meanderthals LP, which this organ liked a lot. It’s cool, they’re being ironic (I hope).
The label has a knack of attracting artist who put a clever twist on the most banal of concepts, we’ve seen in with Lindstrøm, the aforementioned Meanderthals, Diskjokke et al, the list is a long one and lengthened it seems with this gloriously shimmering dance record for summer parties. As with all great music Cellar Door is something of a blank canvas that you can paint your own picture on. If you want a nice groovy dance record, you’ve got it, with dreamy girly emoting thrown in. If you want to stroke your chin to the phasing in Going Down, you can. If you want to wallow lazily in the low temperature, lover's soul as shown by The Way I Like It – a soundtrack to every poolside romance this summer I’d say – then you’re sorted.
Sometimes the tracks are really marvellous: One For Kenny sounds like a tourist Odyssey on dope, shumbling from coffee shop to coffee shop, more and more buggered off Nederweed whilst completely lost in a sea of tourist crocodiles, pimps and pissed up ex pats. Love Hunter and the opening/closing bookends Rabass and Jazz Axe are sun-bleached instrumentals, reminding me of the clear blue-skied atmosphere on some of Michael Rother’s later solo LPs, like Süssherz und Tiefenshärfe. And Le Wasuk is a wide eyed dub sountrack that throws some grand piano and Hammond organ in there too, just for fun. Very like The Bogus Man but with more ska, and no angst.
See? Not too painful a listen, pretty fucking great in fact.