an't Stop The Daggers - Too Many Lights

Hear The Track Here
Like most internet musicians - if they were being honest with themselves - I live in a rose tinted world where record business executives regularly cruise the net looking for the 'next best thing'. Also, like most internet etc, I can be a right smug bastard at times because of knowing that - no matter how quick record execs are - I'm a damn sight faster. Over the years I found many 'next best things' all of which languish, to this day, in the slough of despond we refer to as the net. So, it would be fair to suggest that I am, in fact, completely tonto, a few sandwiches short of a picnic or - in simpler terms - stark raving bonkers. I KNOW that the chances of ANYONE of merit being picked out this way is about as likely as me pulling Jennifer Pearl...er.....sorry..meant to say Jennifer Connolly (Ed: woof! woof! on both accounts anyway) It isn't the way the net works, even for the likes of Artic Monkeys, Lily Allen et al. If you REALLY believed that 'the people' made them then you need a quick lesson on how down and dirty the music business can get.

Oh and btw, I HAVE found the 'thing'. I've known it for some time.

Can't Stop The Daggers lit up my life (and everybody elses apparently) with High (January 2008) and continued with a blinding run of tracks throughout last year, supplying me several Tracks of the Year and almost gaining them Artist Of The Year status. It doesn't mean much, of course, in the scheme of things but hey, if it keeps me smug I'm down with that. Seriously though, on Soundclick right now are some fine, fine bands but CSTD are just exceptional - no two ways about it. They have a pop sensitivity (and some serious hookage) that I've heard very seldom in RL let alone in our little internet world. If you think I'm trying to drown you in hyperbole, go take a listen to High, Changing My Mind, or Go Driving Fast. It wouldn't be fair, I don't think, to judge a band as accomplished as CSTD on Too Many Lights because it is - when all is said and done - a rough mix of the studio version. One thing is for sure, it's going to a right pig to mix, there is a lot going on in here.

Which isn't par for the course in this case.

The reason I get the chockablock feeling is because of that rough mix (its a track from their upcoming album) and the amount of parts it contains. Don't get me wrong, when this is mixed and polished to perfection this is going to be a world beater. Partly because the five people who make up CSTD are excellent musicians and partly because their songwriting is of such a high standard. Consequently, Too Many Lights, is one of those tracks it is essential to live with before making up your mind. Structurally as complex as a Bruce Springsteen song, this takes a while to sink in - even for a diehard CSTD fan like me. Its a kind of Indie waltz, if you can imagine that, and that is unexpected - as is the string quartet (The Urban Quartet) guesting on the track. The time you spend with it is - as usual - well worth as you start to recognise the quality of the vocals, the depth and extent of musical activity and, finally, the wholeness that only a track like this can convey. I can't wait to get my hands on the completed version but this bodes very, very well.

Rough mix of a certified classic. MUST HAVE indie.

Artist: Can't Stop The Daggers
Title: No More Looking For Escapes
Link: here OR Download
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Hey look at that, it's kulamafi time again. If you had no idea that Chris Chattom (Guitars, Programming, Upright/Fretless Basses), Jon Partelow aka the aformentioned kulamafi ( Vocals, Keys, Accoustic Guitar, Programming ), Emily Schalick (Electric Bass, Accoustic bases Upright & 5 string, Cello, bowing, backup vocals), Lionel Luchessi (Drums, Percussion, backup vox) and Ben Dumbauld (Percussion, Vibes, drums) made up Can't Stop The Daggers and that they are definitely destined for some big stuff. What planet have you been living on lately? As far as this reviewer goes (and a great many others too) Can't Stop The Daggers has been on of THE finds of the last year or so. They have made a HUGE impression in a very short space of time indeed. Looking at their latest news (playing live dates, recording later), things can only get better and they are pretty amazing already.

I apologise upfront about the amount of sycophantic grovelling I am about to do, but hey I love this band.

No More Looking For Escapes starts with an acoustic figure that is irritatingly familiar, or echoes something I've heard and I know I'm not going to rest until I've pinned that one down. Of course, all that waxing lyrical about what a great band CSTD are, is now well suspect considering that the last two tracks from this artist have been essentially demos, and mainly acoustic at that. OK, even taken on that level, this track has more going for it than most fine-combed, polished so called masters and for one simple reason. A dynamite song. Couple that with a very clean, totally unfussy mix and voila! instant high.

I liked Jon Partelow as HELLbus but I much prefer this side of his music and my hearts beats in my chest when I contemplate what the full band will make of a track as fine as this. Like their kinda/sorta stablemates, Azoora, Can't Stop The Daggers offer a very compelling image of what can only be described as future pop; a return to a time when lyrics, feel and dynamics were the driver of the song rather than a cash till. It's certainly the reason I so strongly champion artists such as these. If you think I'm laying it on too thick, I suggest you spend two minutes listening to this beautiful song and then tell me I'm too addled for this lark.

MUST HAVE (even in its present form). Chillsville.

Recently I did a lesson on ‘preferential treatment’ with my English 11 class. I challenged them to recognize signs of giving special breaks to artists, authors, actors (and what not) of whom they already approved. Teaching it made me think of the different ways I listen to people who submit songs to me for review. I know that I DO play favorites, and that J. Partelow definitely gets preferential hearing. I expect his work to be good before I click the play button. Now, that is based on the fact that I have repeatedly found his work interesting, innovative and well-crafted. There are, after all, legitimate reasons for preferring the work of a given artist.

In any case, the exercise made me determined to hear Jon’s work with fresh ears, critically. I know that Chris Chattom co-wrote this piece, but I don’t know how to divide the applause; I’ll leave that to them. I’m thinking that whoever wrote in the song’s info page, saying that they had wanted to get this song out for several years (and I think that was Jon), is principally responsible for this work, lyrically at least.

Usually I focus more on the music than the lyrics, and that is because - in my considered opinion – with most popular musical pieces the words simply serve the sound. In this case, while the marriage of word and sound is very strong, for the lyrics sound better than they read, as poetry I mean, yet the lyrics contain a strong message and are what I would call political with as small ‘p.’ By this I mean that they are about the condition of life as we the people in the modern world find it – limited to those who have the leisure to think as opposed to those who are dodging bullets or trying to scrape an existence out of third world soil.

The message of the lyrics seems to be a protest followed by a philosophical statement. The protest, in the first stanza, is against the futility and pace of modern life. The mechanics of making ends meet is all that we are about; it’s futile because we never complete the task; the pace is constant and leads us to ‘yell at the traffic.’ Very true. I think, however, that I like the second stanza even more. This stanza points out the vicarious nature of our lives and calls into question whether such ‘life’ is worthy of the name. Good! Meaning, of course, I agree. But if one doesn’t agree the burden of proof is on the one disagreeing, since it seems almost a self-evident proposition.

The philosophical proposition follows this stanza, and I don’t know if it should be called a different verse form or the chorus. The song has a refrain, for sure; it occurs in two forms and ends each verse or stanza, other than the fourth. “Are you taking it (faking it) well?”

In any case, the proposition is that people must find meaning (it’s our nature to do so) and it really doesn’t matter where that meaning comes from, children and Jesus, being given as two examples. Probably most in our relativistic world would agree. I don’t, but then that’s because Jesus is my meaning and he was, lived and taught truth. Indeed, he is, was and always will be truth, but now I’m preaching. My point being that relative truth is a child of multiple perspectives; absolute truth is God’s. Our share in that comes from bowing before a perspective not our own but belonging to God. Granted, those who do so will still differ in their understanding of that truth, but there is a world of difference between believing truth is there to be known (how ever difficult the task) and saying that anything that works for an individual is equally fine.

However, I am preaching and this has nothing to do with Jon and Chris’s track per se, but is rather a response to what it propounds.

Despite the fact that I don’t agree with the third stanza, I find it well put. Yet, I would suggest that as a response to the lack of substance and meaning in our lives – as cunningly quick-sketched in stanzas one and two – it is not nearly radical enough, IMHO. What we are missing, I believe, is truth itself. For that reason we are stuck with the images we view from our couches; for that reasons our lives themselves are a feeble imitation (a poor image) of real life.

Indeed, the last stanza, which talks about being in outer space, seems to affirm the disconnected nature of people whose values stem only from what they personally find meaningful. We’ve lost gravity, for we have no absolute point of reference to anchor ourselves. ‘Here in outer space…’ It’s a very emotionally honest stanza I feel, and imparts the feeling of uncertainty quite well.

The music to for this piece is – no surprise – very good. It complements the words and/or vice versa. It has the laid back feel typical of Jon’s work (and perhaps Chris’s too, although I have no independent experience of his work). The second repetition in the refrain – line two - definitely brings to mind another of Jon’s songs, but I’d have to go back and listen to remember which it echoes.

Musically, this isn’t quite at the level of the best work from these artists, but it is still excellent. What does that say? Excellent but less than the best argues a very high level of work being the norm for ‘Can’t Stop the Daggers.’ However, it must be mentioned that this isn’t a finished product. It cuts off at the end, and Jon also mentioned that there is some lyrical work that still needs doing.

Short story: thoughtful song with a strong agreement between sound and sense = very good art.

This is a great piece of work, superbly put together. Love the background pad. Reminds me of a lot of bands I listened to back in the 80,s (triffids,the the, to name a couple).
I have listened to a lot of work recently on here, but this so far is head and shoulders above the rest.
As I said great piece of work.

When I was but a sprog in the world, my old Ma was forever telling me that if I drove fast I would shoot my eye out, and that's just a measure of the confusion I suffered during my spotty youth. At the same time my ol Da was exhorting me to never, never stare at a horses arse. Quite why he thought I needed that vital nugget of information I still wonder about today while - of course - being careful not to stare at anyone's ass, let alone one from a member of a different species. Now, before this turns into the weirdest Nature program you are ever likely to see, let's find our way out of here and back to normality...and pray that we don't bump into Sir David Attenborough on the way out because he'll start yapping and that's us fuqued...

As it were.

For those people fortunate enough to have already encountered the work of HELLbus, you'll know that Jon Partelow can be a bit of a stickler when it comes to getting a tune right. Stands to reason then that the band he is in (Can't Stop The Daggers surprisingly enough) are going to be of the same mind. Joined on Go Driving Fast by Chris Chattom on basses and guitars, this is still a track in progress, live drums are still to be added. So with those craven excuses ringing in our earholes let me just say that the last track I reviewed - High (January 2008) - was exactly that. This is a track I had waited the whole month almost before sampling, saving the best for last.

Suffice to say, I expected much.

I've always liked Jon's instrumental work but hey, the man has a set of pipes on him too. The vocal is the jewel in this particular gaudy trinket, and believe me it's a beauty. Class stuff, no matter what you like. As always, the sheer audio splendour is the most immediate impact, but the underlying song and it's performance is about as good as it gets. I can see myself driving along (trying not to stare at...etc) some lonely highway, with this track cranked right up. The sort of song you sing along to while driving at zillionsMPH on a moonlit night on your way somewhere. The term 'radio-friendly' was coined for a track of this quality. One of the brightest hopes in this genre IMHO.

MUST HAVE indie. Class act.

Artist: Can’t Stop the Daggers
Track: Changing my Mind

The refrain is “I Keep Changing my Mind.” That may well be the case with Jon Partelow, the person, I wouldn’t know; however, one thing I do know is that Can't Stop The Daggers don’t change in the quality of their tracks. Their work is invariably: musically interesting, artistically crafted and emotionally connective. What comes through clearly with The Daggers work are their genuine love of music and sound. Anyone who has read Jon’s (vocals, keys) reviews knows that he has very, very wide borders of appreciation. It is fitting, then, that someone who enjoys listening to music should create music that is so enjoyable for others to hear. The band takes time to craft their work, yet it doesn’t sound laboured or crowded.

What jumps out of CSTD tracks are, paradoxically, their understatement. They don’t push the sound envelope hard; their work – to my ear – is less insistent than subtle. Their ‘hooks’ don’t stick out like fish lure barbs, they are rather cleverly (or intuitively) concealed in the fabric of the mix. All five songs on my review list this time are truly outstanding, the work of accomplished and even amazing musicians; CSTD's two are the ‘stickiest.’ Five minutes after listening to it, I am still hearing the refrain, ‘…I keep changing my mind,’ yet it is not an in your face hook, rather it slyly slips into the back of your mind – and stays there. That’s really cool.

I have become a big fan of Jon’s vocal delivery. The man half sings his notes, for want of a better term. They seem to break off in the middle. The effect is similar to suggested lines in a clever line drawing. A good limner doesn’t have to sketch in the whole nose. Indeed, he knows he shouldn’t, for the lines he to the imagination of the viewer are the softest. Somehow, Jon’s half sung notes create a similar effect on me. Listen to the way he sings the word ‘I.’ in the refrain. Most vocalist would milk the ending of the note. Jon leaves it hanging there. It’s not ‘my mind,’ but ‘mə’ mind’ – the first vowel being the schwa sound.

The guitar has a stippled quality and is quite saturated in reverb. Clever use of reverb is, I think, difficult. Many artists use it to gloss imperfections. When used in such a way as to create a slapback it becomes a musical counterpoint. Chris Chattom of Can't Stop The Daggers uses this technique effectively and frequently; uses it excellently well here.

The track builds well and – as mentioned – slips its hook into the listener rather than rubbing his nose in it.

Short story: top notch work that is tasteful and completely worthwhile.

If you think it's been a while since we last heard a HELLbus track (remember them?), there are several good reasons - notably because main man Jon Partelow went walkabout. He turned up a couple of times last year playing with Friends Of Friends (Right Direction, July 2007) and some members of Azoora; if my memory serves me correctly. So, he's been a bit busy. Finally though, Can't Stop The Daggers, the new project gets to see the light of day. A three way collaboration between M. Partelow (Vocals, Keys, Programming, Jittering), Chris Chattom (Upright/Fretless Basses, Guitars, Programming, yada ) and Ben Dumbauld (Drums, Percussion, Vibes), Can't Stop The Daggers will be new to most everybody, even if HELLbus is a name to conjure with.
Given the above lineup the sound is not surprising, like most competent trios, they make each instrument count. I had a bad case of hero worship when I was a lad with Cream, probably the best trio there ever was, and CSTD have echoes of that time in their music. There more I heard it the more convinced I became that this was literally a throwback. It's a track that could have originated out of the wildness of the summer of 1967, so close is its arrangement and style to the original pyschedelia. It even had me sorting through me kaftans and that hasn't happened in many a year.

Given Jon's reputation and what I know of him, production is not going to be a problem here, he's always known what to do to get the best out of his tracks. The dense, bass heavy track is exactly what is needed for the pyrotechnics, as is the priceless kick sound, all which help to stomp this track onto your brain. Not that it has any trouble on that score anyway, this is a track to get high with and savour. The vocal, while languid, gives the track its wide screen, big country flavour in much the same way as Bono's does, and again that is one of the tracks bigger pluses. The true meaning of a power trio...

Excellent Alternative rock. MUST HAVE