For [a]Looper[/a]'s musical charms are actually far greater than those of the little scenarios that [B]David[/B] narrates like a U-rated [B]Aidan Moffat[/B] of [B]Arab Strap[/B]...

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London Blackheath Hall

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London Blackheath Hall

If the thought of child-song and tree houses curls your fingers into a fist, then [a]Looper[/a]’s spaceboy dream is not for you. Chief [a]Looper[/a] Stuart David is, after all, the Other Stuart in Belle & Sebastian (he actually wrote ‘Spaceboy Dream’ on the last record) and he brings with him the wide-eyed worldview of that Brit-lauded outfit.

The odd tale of how [a]Looper[/a] – Stuart David, his artist wife Karn, and his photographer brother Ronnie – came to be is told on ‘Impossible Things #2’: a girl called Karen starts writing to a boy she doesn’t even know. He dubs her Wee Karn and seven years on they are man, wife and multimedia outfit. It’s a charming yarn, if you vanquish all cynicism – and [a]Looper[/a] are all about doing just that. What’s remarkable, though, is that this modern-day fairy tale is buoyed along by crackling breakbeats, a flute loop, a quacking harmonica and a sticky-fingered sense of fun that infects the entire record.

For [a]Looper[/a]’s musical charms are actually far greater than those of the little scenarios that David narrates like a U-rated Aidan Moffat of Arab Strap. For all the appeal of the stories – the one about the moon landings being faked (‘Dave The Moonman’), for instance, or the one about meeting Columbo (‘Columbo’s Car’) – it’s the deft beats, synth burbles and sampled loops underpinning them that inspire. This is a record in love with childhood, but its cheeky groove is often closer to the mash-up of big beat than it is to the fey gambol of [a]Looper[/a]’s precious ancestors, with ‘Ballad Of Ray Suzuki’, for example, sounding like Bentley Rhythm Ace in short trousers. ‘Up A Tree’ is a spaceboy’s dream made real: the future, all shiny with buttons and things, brought down to earth, child-sized. It’s hard to resist.