Statement Of Intent


NO OTHER love little reissue labels that put the music first and worry about sales afterwards. No Other adores psychedelia, garage, folk and country-rock, progressive, funky rock, orchestral pop, hard-rock, ’70s powerpop, soul and funk, chamber pop... and magazines and books that DON'T (always) put The Beatles on the cover!!! No Other is fanatical about quirky cinema, animation and music and culture documentaries. NO OTHER will also work with whatever you throw at us... Nothing is beyond us. Please email for rates.

We love the OLD and the NEW.

If you want to be treated with respect and have your PR campaigns last longer than one week. Contact us now... we're based in North London and happy to meet any prospective clients.

Email: Jonathan No
___________________

On this site are scans and screen grabs of the reviews that No Other have gained their clients. Click on each to view full size.


Friday, 25 November 2011

Duncan Maitland, Audio Scribbler


Duncan Maitland – Lullabies For The 21st Century

Duncan Maitland – Lullabies For The 21st Century
  • Indigo Octagon Records
  • Out Now
  • Duncan Fletcher
  • Good old fashioned easy on the ear pop, big on tunes and refreshingly low on cynicism.
  • Every once in a while a record comes along that may be out of step with current fashions, but is so well written and executed that it deserves a wider audience. This debut solo effort from Duncan Maitland is that sort of record. It’s a shame that, quite often, such records fall through the cracks press-coverage wise, losing column inches to lesser-talented attention seekers.
    The LP is composed of 11 songs, all with big catchy melodies that hark back to a time when tunes were considered an essential part of a record’s make-up. (Strange to think that melodies are now often an afterthought to a lot of today’s song-smiths.) This album sounds to me like the latest addition to that peculiarly English or Anglophilic thread of music and songwriting that began with McCartney’s White Album contributions, continuing with the melancholic baroque-pop of The Bee Gees and Gilbert O’Sullivan. Also evident in ELO’s less bombastic moments, it was carried further with XTC and the adult-orientated pop of Crowded House and The High Llamas.
    It’s the early 70s sound that resonates most loudly throughout this set of songs — instruments well recorded with an analogue warmth, treated with just the right amount of minimal effects, making an album that would sit nicely in your collection next to any of the artists mentioned above. The XTC comparison is particularly pertinent, with Maitland having previously contributed keyboards to their recordings, and also having written songs with Andy Partridge. The artistic cross pollination is returned by XTC’s Colin Moulding guesting on Maitland’s album.
    Highlights include the ascending “ba, ba, ba” backing vocals on ‘Crash Position’ (Jimmy Savile would have approved), along with the fairground-organ-gone-wrong intro of ‘Horror Stories’. There’s even room for some Sinatra-style crooning for album closer ‘Insect Under The Stone’. In truth there’s not a bad track here, and though it may be a little too soft rock for some folk’s tastes that would frankly be their loss.

    No comments:

    Post a Comment