The songs are for the most part riotously danceable, especially ‘The King Of The Village Fete’, ‘The Clay’s A Calling’ and ‘Horn For The Whole Damn World’. But they do pathos-soaked balladry rather well too, as the gorgeous ‘Violent Men’ will testify.
Well, this is a blast. Lazarus And The Plane Crash is Joe Coles, previously of The Guillotines, and Stephen Coates (aka The Clerkenwell Kid) of The Real Tuesday Weld. Together they’ve made a strange record of primal rock ‘n’ roll, dark, dangerous themes and freak show aesthetics.
In their determination to go out on any limb, regardless of taste or safety, Lazarus and the Plane Crash – a collaboration between Guillotines singer Joe Coles and Stephen Coates, grey eminence behind The Real Tuesday Weld – display the kind of risk-taking absent from The Maccabees’ album.
A widescreen cinematic emotional cabaret, Soundtrack for the Last Werewolf is the sixth The Real Tuesday Weld album and follows the Sunday Times and The Independent album of the week The London Book of the Dead. It’s been released by Six Degrees in the US on July 12th and internationally thereafter.
Horseplay, whose oversized packaging folds out into a Ouija board, is a peripatetic, eclectic magpie’s nest of styles, with Coles alternating between a badass Beef-heartian blues rasp and a more courtly Cole Porter diction, while Coates provides an alluring cut-and-past backing of vintage found sounds.
Supposedly recorded in boozy single takes, this “collision” between The Real Tuesday Weld’s Stephen Coates and the Guillotines’ Joe Coles is a lusty pile-up of bad-ass blues polkas. Subtle it isn’t, but the reckless racket is bracing and the mock-machowit (“I’m manly, I’m Desperate Danly!”) is leavening. The sleeve is a Ouija board, the noise within might just raise the dead.
Like I, Lucifer before it, The Last Werewolf is inspired by a novel by Mancunian author Glen Duncan who stated in interview that The Real Tuesday Weld has “the depressing knack of getting into three verses and a chorus what I’ve just spent 100,000 words on”. The themes on the record are transformation and the loss of what you love (werewolves being such inconsiderate lovers), and it has the right degree of violence, debauchery and decadence, suffused with film noir atmospherics.