The novel, described as “sexy, violent, and civilized,” centers on the titular werewolf discovering at last another like him, to join in fighting the anti-supernatural corporations threatening his species. Duncan reads from The Last Werewolf while Stephen Coates, of the Real Tuesday Weld, performs from the soundtrack — both of which are on sale.
It’s probably the best dinner party music we’ve ever heard. With its whispered dialogue, orchestral turns, gleeful winds and strings, and mild electrobeats, The Real Tuesday Weld's "Me and Mr. Wolf" is a bridge from the generation who digs this kind of thing to the generation who’s never understood it. Count us now in the former, and keep your eyes peeled for The Last Werewolf, coming on Six Degrees, July 12.
Turning our sights from hit-makers and ground-shakers, this week we take a look at the formation of a new type of music that’s slowly making its way into our ear-holes. London-based The Real Tuesday Weld offers up their self-titled “antique-beat” style that’s mixing the likes of early 20th century jazz with electronic beats (it’s also called “electro-swing"). The band is set to release its 7th studio album, 'The Last Werewolf', on the 12th.
As Cyrus (the Warriors) and Booker T once asked: “can you dig it!?” Methinks yes.
The Real Tuesday Weld is most commonly known for their song 'I Love The Rain' which is featured in Chevrolet car commercials. The band also have three songs featured on the videogame L.A. Noire. This public exposure to the band has given them renewed popularity in the music world.
On July 12th, author Glen Duncan's book The Last Werewolf will hit the shelves in a unique way. An identically titled album by the UK group The Real Tuesday Weld will serve as the book's counterpart, a "soundtrack" that will feature 19 cuts ranging from thirties ballads through gypsy jazz, electro-swing and torch song to minimal electronica.
Take, for example, the songs of Stephen Coates, who records under the cinematic name The Real Tuesday Weld. Coates' work features snatches of dialogue, intrusions of sound effects and at least the hint of a plot... "When I write, I need a narrative to work with," he says, "pop songs about romantic love may be great but you exhaust that at some point and want to look for something more."