Hailing from Melbourne, Australia, Cut Copy are three piece Dan Whitford (singer/guitarist/electronics), Tim Hoey (guitar) and Mitchell Scott (drums) are signed to the hugely influential Modular Records – the same label that has already brought us The Avalanches, Bumblebeez 81, Wolfmother and The Presets.
Their debut album, ‘Bright Like Neon Love’ (Buy it here: Amazon UK/Amazon US, sees garage rock and melodic electronics married perfectly together: imagine Sonic Youth taking on the Pet Shop Boys, or Daft Punk conducting New Order. Following the rapturous reception to the release of the record earlier this year, a host of amazing live shows and support slots with Franz Ferdinand, Mylo and Bloc Party, the album is now being re-released on Modular’s new home of Island Records.
Try Ticketmaster.co.uk for these dates
Wed 26-Oct-05 Nottingham Disco II
Thurs 27-Oct-05 Manchester Roadhouse
Fri 28-Oct-05 Liverpool Academy 2
Sat 29-Oct-05 London ULU
Wed 2-Nov-05 Brighton Union
Fri 4-Nov-05 Glasgow ABC2
“I think the sound now does come from an appreciation of both things, electronica and bands,” Dan says. “There’s more bands around these days that work in both ways. The Rapture, Tom Vek, Bloc Party and Franz Ferdinand – they’re bands you can dance to. I think we’re post-underground though. We’re not consciously cool. In many ways our music’s an ode to bands like ELO and Fleetwood Mac. Bright Like Neon Love is more like a pop record and that’s how I intended it.”
Bright Like Neon Love also shares pop’s fascination with matters of the heart, as in the album’s title. Such romantic notions are proffered in ‘Future’, a sprightly example of French-touch electro-pop as played by New Order, with low, dispassionate vocals evocative of half-remembered nostalgia. Indeed, the album is characterised by a hazy affection for teenage days gone by. The new romantic disco of ‘Saturdays’ offers the age-old conundrum of yearning for someone who doesn’t reciprocate your affections, and ‘Saturdays (Reprise)’ is like an updated soundtrack to the sublime stoner flick Dazed And Confused.
The synth-led, sunshine soaked insouciance of ‘Going Nowhere’ is like The Flaming Lips and The Chemical Brothers getting matey again, while ‘That Was Just A Dream’ offers a lazy electro glide that Air would no doubt be impressed by. ‘Autobahn Music Box’ sees Cut Copy’s Boston, America/Fleetwood Mac crush fed through an Ibizan sunset and again displays the band’s uncanny knack of hitting romantic realism on the
head: “I watched the sun go down and up again and think of you/You’re just so busy seeing red when all I see is blue.”
The My Bloody Valentine meets The Go! Team space rock of ‘Bright Neon Payphone’ is rooted in a garage rock intensity, but that’s balanced by the wistful lament of ‘A Dream’ (“You think my life’s a dream/I dream when I’m awake”).
And if you were wondering why an album constructed in Australia should bear such an uncanny resemblance to the French body music of Daft Punk et al, then you should know that Bright Like Neon Love was co-produced in Paris by Phillipe Zdar of Motorbass and Cassius fame.
Cut Copy is an expression of two cultures clashing, a glorious meeting of minds. It has enabled the indie crowd to mosh down the front, the dance kids to get their hedonistic fix, and the electronic heads to devour their mood music. Cut Copy is indicative of a world where the blinkers are off, and ambition and imagination are allowed to run riot. It’s how things should be.