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The Real Tuesday Weld - Songs for The Last Werewolf - out on Six Degrees/Crammed Discs

The Real Tuesday Weld Songs for The Last Werewolf
The Real Tuesday Weld - Songs for The Last Werewolf
(CD/Digital) Six Degrees Records, 2011-07-12 (US and digitally everywhere)
(Special Edition CD) Crammed Discs, 2012-01-16 (Europe)

A widescreen cinematic emotional cabaret, Soundtrack for the Last Werewolf is the sixth The Real Tuesday Weld album and follows the Sunday Times and The Independent album of the week The London Book of the Dead. It' been released by Six Degrees in the US on July 12th and internationally thereafter. It features a range of special guests including Glen Duncan, The Puppini Sisters, Pinkie Maclure and Joe Coles of Lazarus Plane Crash. A very special edition of the album with written pieces by Glen, artwork by Catherine Anyango and exclusive tracks will be released by Crammed discs in Europe in October. We've been fans of The Real Tuesday Weld's swinging chamber orchestral sunshine bitterpop for years and can't wait to see this released over here!!
Read the Paris DJs interview with The Real Tuesday Weld : in english or in french.

The Real Tuesday Weld Songs for The Last Werewolf
The Real Tuesday Weld - Songs for The Last Werewolf
(CD/Digital) Six Degrees Records, 2012-01-16

The Last Werewolf (A Soundtrack) by TheRealTuesdayWeld

Tracklisting :
1. It's Time 0:30
2. Wolfman 2:52
3. The Lupine Waltz 1:11
4. (I Always Kill) The Things I Love 2:47
5. Time of the Month 1:09
6. Love Lust Money 3:07
7. The Ghosts 2:50
8. Room Service 0:20
9. The Hunt 3:00
10. Tear Us Apart 4:07
11. Save Me 3:21
12. I Don't Like It, I Love It 0:35
13. Me and Mr Wolf 4:11 | Free Download
14. A Moment Allowed 0:44
15. Come Around 3:05
16. What You Are 0:26
17. You're Going to Live 3:54
18. The Cruellest Month 1:21
19. Let it Come Down 7:05

Links :
Read the Paris DJs interview with The Real Tuesday Weld : in english or in french.
The Real Tuesday Weld : official | antique beat | bandcamp | blogspot | discogs | facebook | myspace | parisdjs | soundcloud | twitter | wikipedia | youtube
Crammed Discs : official | discogs | facebook | myspace | parisdjs | soundcloud | twitter | wikipedia | youtube
Six Degrees Records : official | bandcamp | myspace | soundcloud | twitter |facebook | wordpress | youtube

The Last Werewolf Trailer

The Last Werewolf by Glen Duncan (book trailer)

Press Release :
WARNING: Some Thing is stalking the streets of London in the new album The Last Werewolf. This Thing is not wholly of our time, but seems to be caught between past and present. It is elegant – literate even, on the surface… but there is an undercurrent of danger and eroticism lurking just beneath. This Thing is called: The Real Tuesday Weld.

Like the cultured but cursed hero of its new record, the Stephen Coates-led project called The Real Tuesday Weld has had to find its own place in a world that likes the safety of labeling things, immediately and precisely. But TRTW is a were-band: a sophisticated mid-20th-century ensemble versed in Cole Porter and Django Reinhardt that is also a modern, electronically altered dance/rock band. Many of Coates' previous releases have looked back to a time when songwriting meant storytelling. And his works have generally unfolded over time, taking up entire albums and extending to a stylish and extensive website full of related tales, songs and podcasts.

The narrative for The Last Werewolf comes from Glen Duncan's novel of the same name. Coates and Duncan have collaborated before, on the 2003 book and album I, Lucifer. Duncan's new novel has been a hot publishing property, the subject of a bidding war and now optioned by film maker Ridley Scott (Blade Runner, Alien, American Gangster). Like I, Lucifer, both the novel and the album were created at the same time - both book and record are coming out in the States on July 12th. But it would be a mistake to call TRTW's new release a soundtrack to the book.

"I intended the album to work as a conventional series of songs - an independent piece in itself," Coates says. But he quickly points out that "if you read the book it would take on other layers." In fact, like earlier TRTW albums, The Last Werewolf plays like an old radio drama. Songs that can stand quite easily on their own are woven together by a series of soundtrack-style cues, with dialogue taken from the novel. And as Coates says, that context can dramatically change the meaning of a song. "Time of the Month," for example, could simply be a short piece of Kraftwerk-inspired electronica with wisps of speech. But that phrase takes on a whole new meaning in the context of lycanthropy. And the catchy "Tear Us Apart," a piece of steampunk Britpop with sampled 1930s horns and vocals, is a potential hit single in the long tradition of "love hurts" songs. But within the story of the werewolf, it has a very specific meaning.

The Last Werewolf gives you just enough evocative audio scenery and dialogue to suggest the story while leaving enough room for the listener. "I love the idea of listeners imagining their own story to weave it all together," Coates says. "That would be really great. That is one of the reasons I love some soundtrack albums - a sense of a story hovering above even if you haven't seen the film." Some of the most cinematic moments in The Last Werewolf are brief pieces like the "Lupine Waltz," an interlude that hints at a genteel English drawing room while disturbing behavior lurks in the shadows.

As for the songs, they cover a wide range that would be typical of no one but Stephen Coates and his "Antique Beat" style. "I Always Kill the Things I Love" is a deliciously twisted sendup of Noel Coward/Cole Porter songs – right down to the tasty clarinet solo. "Love Lust Money" rides a strong dance beat and funky horns – celebrating the physicality, the barely-suppressed eroticism of the werewolf. Alternating between dialogue ("I killed my first victim on the 14th of August, 1842; I was 34 years old.") and a single-word chorus, the song features the Puppini Sisters doing their best Andrews Sisters impersonation – you can almost hear the matching polka-dot blouses.

The outlier here is probably the opening song, "Wolfman"– a howling, hard-rocking, harmonica-driven stomp full of allusions to the blues. Guest vocalist Joe Coles' voice is heavily distorted, and if you start thinking of Howling Wolf's music, well, that seems to be the point. A more representative song would be "The Ghosts," which offers a jarring juxtaposition of old-fashioned waltz with glitchy electronics, but even more between the Edwardian sound of the music and the gruesome lyrics.

Similarly, "The Hunt" recalls the classic Django/Grappelli Hot Club bands of the 30s – except the language is right out of a censor's nightmare. The veneer of civilization is ripped off and the fearsome aggression underneath is laid bare. No radio play for this one, despite some swinging, inviting vocals from Coates and the Puppinis, and some truly convincing solos for violin and guitar. "Save Me" is a bloody torch song, featuring vocals by Scottish singer/songwriter Pinkie Maclure. "Her own music is quite experimental but I think she has a great torch song voice," Coates states. "She was on my I Lucifer album a few years back and we have done various things since."

Other highlights of The Last Werewolf include the track "Me and Mr Wolf," a witty love duet in mid-century style but sung over steady rock'n'roll beat. Piney Gir, an American musician who lives in London, partners with Coates. "Come Around" is a genuinely pretty singer/songwriter affair – a respite from the tale; a moment allowed for wistful longing and simple connections. And as the story progresses, brief snatches of dialogue suggest that perhaps the werewolf tale is not quite as straightforward as we'd initially assumed.

"Let It Come Down" concludes the album with the sounds of classic soul, or a James Bond song, with its lush production (glowing vibes, sinuous clarinet) and creamy Pinkie Maclure vocals. Finally, spoken voices over the end of the song reveal how the story ends… or doesn't. "That should be amplified by the other tracks and pieces and podcasts we will be releasing," Coates explains. So apparently, the story continues. You've been warned.

Biography :
The Real Tuesday Weld were formed by Stephen Coates in 1999 inspired by dreams of crooner Al Bowlly and the American actress Tuesday Weld. They are influenced by 1930s jazz, Serge Gainsbourg, Ennio Morricone and minimalist electronica and are known for a series of critically acclaimed albums, arts projects and award winning collaborations with film makers. Their live performances are accompanied by extraordinary atmospheric visual projections. They released their first full-length release in 2001 with When Cupid Meets Psyche and followed it up with I Lucifer (2004), the critically acclaimed 'soundtrack' to Glen Duncan's book of the same name spawning the multi-award winning animation 'Bathtime in Clerkenwell' and a host of imitators.

"The Return of the Clerkenwell Kid' (2005) was another potent mixture of classic and modern sounds and reprised older songs to "tell the story of a love affair from before its beginning until after its end". The band first performed their alternative soundtrack for Hans Richter’s 1948 surrealist classic ‘Dreams That Money Can Buy’ at London’s National Film Theatre NFT in 2005. The 2008 release of 'The London Book of the Dead' also met with critical acclaim (including the Sunday Times and The Independent album of the week).

"Propaganda from the State of Love" a live installation commissioned by the Victoria and Albert Museum continued the band’s association with the British art establishment and has been followed by film scoring work and live dates across Europe and the US. Stephen scored two independent features: "Bomber" and "Meeting Spencer" in 2009 / 2010 and is currently working with various film makers in the UK and US. He has produced albums for Marcella Puppini of the Puppini Sisters and as Lazarus Plane Crash with Joe Coles from The Guillotines both due for release in 2011.


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Raven Raven ·  28 January 2013, 05:42

If only the BBC could be persuaded to take "Torchwood" back and run a full series through to completion again, Stephen Coates would be the storyteller/songwriter/composer to make the music span the available range -- spatially, temporally, and emotionally, for where *can't* that show (or Captain Jack Harkness) go?

TRTW's done novels, movies, and commercials; a TV series would be just another step....

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