EP Review: Surface Noise

Andy Bassett has just released a new EP, Surface Noise. Originally from the UK, he has been living in the Taranaki area since the late ’80s, performing with various bands, covers and originals. Surface Noise is the latest in a collection of solo releases coming from his own studio, Little Pink, which sees him once again paired up with collaborator Jarrod Bakker, responsible for arranging the string and woodwind parts.

Something that set this EP apart was the inclusion of a set of six limited edition postcards, available on his Bandcamp page. Five of the cards each have the lyrics to a different one of the EP’s songs on the reverse, the sixth has performance credits and production notes. Each of the six has a beautifully photographed image, and were produced “For those who, like me, miss the tactile experience of an album cover”, in Andy’s words. A nice touch, I like it.

Surface Noise is also the name of the first track, introduced by subtle drums, soon joined by subdued bass and guitar parts, and a delicious string ensemble. The production is open and crisp, with each instrument allowed plenty of room to breathe, under a vocal delivery that reminds me somewhat of Roger Waters… always a good thing, in my book. Lyrically, it discusses the effect that the unending grind of capitalism has upon the true beauty, the “surface noise” of life. The overall feel of the song delivers its message peacefully, but with no doubt about the author’s thoughts regarding the relentless money-making machine.

On The Unfiltered Poet, a gorgeously warm and full-sounding guitar arpeggio is joined by superbly fat bass, and quiet but solid drums. I’ve no idea which particular poet inspired these lyrics, but I immediately thought of Shane MacGowan, with lines like “If it’s taboo, he’ll say it right out loud and clear“, and “He’ll spit on your grave, fall asleep in your tomb“. With the line “Consorting with people you don’t want to meet“, the subject of the song would, at the very least, be someone with whom Shane would definitely keep company. There would be no prizes for guessing the subject of Dead Man’s Tan, it’s aimed directly at the bizarrely spray-tanned, hateful rhetoric-trumpeting leader of the US. This has the darkly Western feel of a murder ballad, which is more than appropriate. “From the campaign people fighting fires, to the billionaires who pull the wires“, Andy has seen right through your blowhard blustering, and isn’t fooled in the slightest, mate. A scathing indictment on that country’s flawed political system, “You’re back to finish what you began, with an empty heart and a Dead Man’s Tan“. Indeed, Andy.

London Buses looks at a situation from two differing perspectives, what might have been, and what actually was. Ultimately, after weighing things up, the way the situation played out is deemed the better of the two options. Starting out with just acoustic guitar, bass, and drums, the song opens up at the first chorus. A beautiful vocal harmony accompanies the chorus vocals, and some tasty electric guitar parts begin to complement the instrumentation. The end of the second chorus gives way to a change in feel, the chord progression and lead guitar creating a tension that resolves back into a call-and-response style rendering of the first verse, with lush vocal harmonies contributing to the beauty of the song.

The final track is When Ziggy Came Back From The War. The string ensemble is back, joined by oboe and flute on the intro to the longest track of the EP, at just under seven minutes. Acoustic guitar and vocals take the baton from the strings and woodwind, beginning to tell the tale of a man drastically and irrevocably changed by his wartime experiences. Verse 2 sees the strings and woodwind rejoin the discussion, followed by bass guitar at around the two minute mark. A sublime harmony pairs with the vocals on verse three, continuing into the fourth and final verse. From thereon out, it’s largely instrumental, with the vocals coming back to harmonize with “La-La-La”s around the melody.

A collection of interesting ideas and stories, set to thoughtful and mellow music, with excellent production. All the more impressive for the fact that aside from the strings, woodwind, and timpani (on the track Surface Noise), Andy played everything himself. Magnificent.