Prejudice is a terrible human affliction, and even in minor ways we can let it jaundice our actions and thoughts on a day-to-day basis.
Although it's hardly earth shattering in the larger scheme of things, your reviewer's intense dislike of BELLE AND SEBASTIAN previously blinkered him to LOOPER'S possibilities, seeing as they're the offshoot (and now full time project) of ex-B&S bassist STUART DAVID. Consequently, your reviewer studiously avoided their 1999 debut "Up A Tree" by reasons of association.
Perseverance and trickery (in roughly equal measures) from a far-sighted friend ensured this writer DID get to hear LOOPER'S second effort, "The Geometrid" shortly after its' review in 2000, and while that record was hardly a cast-iron classic it had several fine moments and hindsight now proves it was a good signpost to point us towards "The Snare," undoubtedly LOOPER'S finest (three quarters of an) hour to date.
"The Goemetrid" was (successfully) rhythmically inclined, but "The Snare" is far more consistent: a full-blown exercise in spooked atmospherics, cinematic themes, grainily exciting plot lines and disciplined, jazzy musicianship.
In many respects, "The Snare" is a logical successor to trip-hop's best moments and - in the absence of a new PORTISHEAD album - fills the gap very nicely. "The Snare" (the track itself) sets the scene, with DAVID'S heartbeat bass, wife KARN'S mysterio, Eastern European dulcimer intonations, skittery hip-hop rhythms and DAVID'S creepy, half-whispered vocals emboldening a satisfying sonic canvas.
In all honesty, they don't stray far from this formula too often, but a rush of tracks like the haunting "New York Snow", "Driving Myself Crazy" and (tribute?) to LOOPER producer, "Peacock Johnson," are all excellent, JOHN BARRY-ish slices of pop noir. This latter is superb actually, introducing a few heavy friends like NEIL CAMERON (slippery upright bass) and DEBBIE POOLE, bringing along some smoky vocal talent.
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Occasionally, the end results can be stilted and two-dimensional. Despite elevation from a lovely female harmony chorus, "She's A Knife" and - especially - "This Evil Love" never really get out of first gear, and end up runty and unfulfilled.
No such problems elsewhere, though. "Lover's Leap" contains an excellent ensemble performance, with vibes, distant vibrato guitar from RONNIE BLACK, sly basslines, bass trombone (!) and fine saxophone input from EVIL BOB. The murderous intent and eerie desire in STUART DAVID'S vocal fits the whole shebang like an envelope around a cheque, too. I especially like the way he sings: "don't be afraid, I'm right behind you…listen to the way the river roars behind you." You can literally feel the hairs standing up on your neck…
Sensibly, though, LOOPER save the best until the last, and sign off with "Fucking Around". Although it arrives via KARN DAVID'S seemingly omnipresent dulcimer tones, it swings deftly into a jazzy shuffle, replete with brushed drums, vibes, Fender Rhodes and some gorgeously lethargic flugelhorn from guest MICK COOKE. Rather like the VELVET UNDERGROUND of "Sunday Morning", this track is gentle, breezy and a disarmingly pretty antidote to the intrigue that shrouds the remainder of the album.
"The Snare", then, is not only a fine statement of intent as their MUTE Records debut, but cements LOOPER'S reputation as oddball contenders on the scene and banishes this writer's previous prejudice to the four winds.
I'd say that was a result whichever way you cut the cake.
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