Album: The Very Things GXL - Mr Arc-Eye (Under a Cellophane Sky)

Dadaist post punks resurrected after a long break

Back in the mid-80s, a group of lads from Worcestershire, who’d previously been known as the Cravats, were putting an exceedingly strange spin on the post-punk sounds of the time.

“The Bushes Scream While My Daddy Prunes” and “Mummy You’re a Wreck” may not have earned the Very Things great riches, but they certainly created more than a few ripples among the listeners of John Peel’s radio show and further afield – even encouraging Channel 4 to commission a very peculiar film for The Tube.

Forty years later and vocalist, songwriter and multi-instrumentalist Robin Dallaway, percussionist Disneytime and guitarist Steven Burrows have reunited and shanghaied Silverlake’s bassist, Tony Sherrad, to share some more of the weird and the wonderful with the listening public of Popworld – and their return is very welcome indeed.

The genre-hopping but cohesive Mr Arc-Eye (Under a Cellophane Sky) is no tribute to past glories but resolutely pushes sonically forwards, while very much retaining the Very Things’ original brain-scrambling grooves, post-punk guitars and esoteric samples from old black and white B-movies and beyond. Dipping into a distinctly eclectic palette of sounds from hard bop, kosmische musik, Northern Soul, sampledelic weirdery and much more, tunes like the feisty but soulful “I Said Yeah” are an emphatic instruction to get on your feet and swing your hips.

It’s far from single speed stuff though and among the many highlights, the distinctly menacing title track comes on like a more tuneful take on the Fall’s or Captain Beefheart’s sound and “I Don’t Know About You” dives deep into psychedelic jazz along with looped and spliced samples of the insane preaching of the Reverend Arthur B Devers. In fact, Mr Arc-Eye (under a Cellophane Sky) marks a most welcome, if unexpected resurrection for the Very Things GXL and it’s to be hoped that it doesn’t prove to be just a one-off.

Add comment

The content of this field is kept private and will not be shown publicly.

Plain text

  • No HTML tags allowed.
  • Lines and paragraphs break automatically.
  • Web page addresses and email addresses turn into links automatically.
The genre-hopping but cohesive album is no tribute to past glories but resolutely pushes sonically forwards

rating

4

explore topics

share this article

the future of arts journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

DFP tag: MPU

more new music

Three supreme musicians from Bamako in transcendent mood
Tropical-tinted downtempo pop that's likeable if uneventful
The Bad Seed explains the cost of home truths while making documentary Ellis Park
Despite unlovely production, the Eighties/Nineties unit retain rowdy ebullience
Lancashire and Texas unite to fashion a 2004 landmark of modern psychedelia
A record this weird should be more interesting, surely
The first of a trove of posthumous recordings from the 1970s and early 1980s
One of the year's most anticipated tours lives up to the hype
Neo soul Londoner's new release outgrows her debut
Definitive box-set celebration of the Sixties California hippie-pop band
While it contains a few goodies, much of the US star's latest album lacks oomph