MATCHING MOLE — Matching Mole's Little Red Record (review)

MATCHING MOLE — Matching Mole's Little Red Record album cover

Album · 1972 · Fusion

4/5 · 2011-04-23
Sean Trane

Less than seven months after recording their debut album, having toured constantly recording a few radio sessions throughout Europe, MM entered the studios in July 72 for their second (and last, but they weren’t aware of it) album that was produced by Robert Fripp. Armed with an highjacked Chinese propaganda poster, the sleeve (and the album title) leaves little doubt as to their political aspirations, although I suspect that this was probably not shared by everyone in the group, because the ambiance within the group quickly became detestable and two months after its release, the group over, even if the explanation was about gigs not being paid and bankruptcy. So with Sinclair gone just after the debut’s release, McRae is alone on keys, but the major difference with their first is Wyatt’s songwriting that had filled almost all of the album, was reduced to absolutely none in LRR, if you’ll except the lyrics and other vocals, but these holds a big part of creativity.

Starting on one of the most surprising track that Wyatt ever recorded, Drink Our Politics Away is a strange semi-operatic over some McRae keyboards and Eno synth layer. Directly and abruptly segueing into Marchides (much the same way Signed Curtain had given in to Part Of The Dance on their previous album), the group takes its vengeance with a wild and torrid 100MPH jazz-rock that veers a bit dissonant in its middle section, before coming back more relaxed. Some exceptionally inventive drumming from Wyatt on this track that had received much previous rehearsal since it was concert standard, but everyone contributes greatly. Again segueing straight into Nan’s True Hole, Robert develops some very strange gossipy vocals with him, wifie Alfie and friendly model Julie just yapping away over Wyatt’s jaw-dropping drumming and a Frippian guitar solo, courtesy of …. Phil Miller; the whole thing falling into Righteous Rhumba without really noticing much a change. Closing on the wild Brandy for Benj (a roadie), with McRae on a rare organ part at the start and Miller’s brilliant solo.

Being shutout throughout the first half of the album, McCormick scores Gloria’s Gloom as the flipside opens with the second centrepiece, which starts nightmarishly percussive and hauntingly spooky with Eno’s VCS-3 deranging many listeners and remaining dissonant through a few minutes, until chattering gossipy vocals take the track slowly into the middle section where Wyatt singing his heart out until Eno’s Martenot-like synth layers take us back to earth. After the popish God Song (sticking out like a sore thumb), Flora Fidgit (Frigid Flora? Yashure?? ;-)) where McRae’s el piano steals the show. The closing Smoke Signal is the third highlight, a slow developing ambient cosmic piece with Wyatt’s astounding drumming, and slowly dying in death throes

Although MM’s last studio album is generally not as reputed as its debut album, bit it’s certainly no worse an album, with this one being more of a group effort. Both MM are absolutely essential to Canterbury fans, but it’s not recommended to start with them, if you’re a newbie.