The Butterbean Crypt EP is a special Halloween release from Cinema Red and Blue, an indiepop supergroup featuring members of both Comet Gain and Crystal Stilts. Strictly limited to 500 copies on 10” vinyl, it’s pressed on spooky black vinyl with a white marble effect.
Lead track ‘Walkin’ To The Cemetery” is a Cinema Red & Blue original that comes on like a lost garage-rock classic, replete with 60s organ and scary screams. The EP also contains two covers, with versions of Beau Brummels’ psych-pop stunner “Gentle Wandering Ways” and the sixties folk obscurity “As Pure As The Freshly Driven Snow” by Whistler Chaucer Detroit & Greenhill. The EP is rounded off with another original “Memory Grave (Recalled From The Crypt)”.
Led by songwriter David Feck, Comet Gain have released a string of critically acclaimed records on Kill Rock Stars, Track & Field and What’s Your Rupture?, with albums such as Réalistes, City Fallen Leaves, singles collection Broken Record Prayers and, in June of this year, Howl of the Lonely Crowd, establishing the band as one of the most fearlessly passionate and fiercely intelligent British bands around.
Crystal Stilts burst out of Brooklyn\'s storied post-punk indie scene in 2008 with a string of releases that culminated in their fantastic debut album Alight Of Night, deftly combining the spooked 60s Texas psych of 13th Floor Elevators and Red Crayola, the gothic blues/punk howl of Gun Club, the dark, experimental DIYism of early Flying Nun/Xpressway groups and a dash of classic 60s pop by way of early Jesus & Mary Chain. Their critically acclaimed second album In Love With Oblivion was released on Fortuna POP! earlier this year.
Together as Cinema Red & Blue they’ve released one album to excellent reviews (“a knowing and affecting power-pop record about the foibles of loving records too much” – Pitchfork). Now with this Halloween EP they’re set to strike fear into the hearts of all. Be afraid, be very afraid!
Imbued, sizzling, in a bubbling cauldron of Teenage Shutdown and Pebble’s compilations; Nuggets box sets; Ugly Things fanzines; and countless forgotten evanescent no-hoper garage-land bands; Cinema Red and Blue climb aboard the electric kool-aid locomotive for their latest asinine release.
Totally fatuous, dumb and ridiculous (all plus points in my book) David Feck’s (of Comet Gain notoriety) lo-fi acid garage-rockers are just having fun. This loose collaboration, whose ranks have included members of the Crystal Stilts, the Clean and Aisler’s Set – produced by Ladybug Transistor’s Gary Olsen to boot – have a simple enough agenda: fondly goof around with and recreate, in sulking and melancholic teen mockery, the raw psychedelic, and, beat music of the mid to late 60s.
In true garage band tradition, they’ve released a timely ghoulish limited edition (500 copies) 4-track EP for Halloween – though it’s rather tame in comparison to bands like the Downliner Sect, and their infamous tongue-in-cheek horror EP, ‘Leader Of The Sect’. The customary graveyard visit comes courtesy of the shambling Tex-Mex organ grinding ‘Walkin To The Cemetry’: a howling dirge that sounds like Mark E Smith riffing off a vintage two chord version of ‘In The Midnight Hour’. Like something the 80s revivalist’s, The Gruesomes, might knock out; the rebel yell of indifference theme tune finishes on a Ghosts & Goblins computer game funeral pastiche. Split into 2 covers, and 2 originals, the Cinema’s own bookend plaint anthem is the travail of reflection ‘Memory Grave (Recalled From The Crypt)’: a nostalgic bow to…well, nostalgia, that takes its cue from the 13th Floor Elevators.
Both covers are shrewd bed fellows. There’s the rather gallant effort version of San Fran scenester’s, The Beau Brummels, caustic psych-Gothic prose ‘Gentle Wanderin Ways’; and an obscure version of the T-Bone Burnett produced Texas songwriters cabal, Whistler, Chaucer, Detroit & Greenhill’s 68 country-fried, sun-dappled lite ‘As Pure As The Freshly Driven Snow’ – an astute and highly recondite choice that just goes to show there’s still some unmined treasures from the 60s to be found.
Outstaying it’s initial autumn ‘All Hallows’ weekend, novelty release date, ‘Butterbean Crypt’ has enough fuel in the Hurst to last a good couple of months more.
For a side-project, CRAB is intensely satisfying for the listener, with great original tunes and the coolest covers. ‘Walkin’ To The Cemetery’ is a stunning self-penned garage-growler, full of stabbing organ riffs and menacing guitars, while everyone gets to do a solo or a scream. They interpret the Beau Brummels’ \'Gentle Wanderin Ways\', a song only found on a compilation of rare BB tracks and here transformed from its country rhythms into pulsating pop-psych with an astounding guitar riff. They also cover the 1968 obscurity ‘As Pure As The Freshly Driven Snow’ by Whistler, Chaucer, Detroit and Greenhills as the loveliest baroque-pop. And they finish with the mournful ‘Memory Grave’, a folk rock tune with an acidic undertone. Here’s hoping that Cinema Red and Blue keep adding new features to their programme.
An indie supergroup, because that\'s what Cinema Red And Blue are. A fusion of Comet Gain and Crystal Stilts and as much as you\'d love to hate the record, because it\'s an indulgent (vinyl only, 500 copies only) in- joke, it is a lazily excellent thing. The casual crossfire of fret and keyboard on \"Gentle Wanderin\' Ways\" is an edgy delight that\'s as tight and as a dodgy as a politician\'s lips. I\'ll have to skip \"As Pure As The Freshly Driven Snow\" because the click, jangle and whoosh of \"Memory Grave\" has exhumed Brian Jones just in time to join hands with an early REM for a rapid stumble around a black flamed campfire with Dr Phibes.I like Kylie Minogue and I like Sisters Of Mercy and they have done good stuff, so have Cinema Red And Blue. You can\'t (inverted snobbery applies) buy it, so steal it, it\'s brilliant and it\'s a fucking bargain.