Tigermik - Belle & Sebastian > Reviews > Stars of 8-Track

Author's product rating:   

Originality	Definitely a cut above the rest
Lyrics	Thought-provoking
Quality and consistency of tracks	A couple of weak links
How does it compare to the artist's other releases	Outstanding
Value for Money

Advantages:	Modern Day Poetry With Bach Supervising The Arrangements .
Disadvantages:	It Is Too Short .

Recommend to potential buyers:

yes

Full review

For a while there this album was harder to track down than a Nepalese Yeti. 'Tigermilk' was recorded while Belle and Sebastian were still in art college and was submitted as part of their final year project. This
meant that it originally had a limited pressing of a few thousand. Thankfully for those not able to afford the £400 per copy asking price it was released again in 1999.

It is difficult to believe that 'Tigermilk' was recorded on a limited budget because it has such a lush feel to it. 'Expectations' for example is a complicated sounding beast with trumpets, flutes, strings and guitars flying in from every angle while the lyrics spout from Stuart Murdoch's mouth like water from a classy fountain in Barcelona.

'She's Losing It' is a classic example of Belle and Sebastian turning a good story into a fantastical musical show. Murdoch pours the lyrics like honey on a pancake while the sweetest of accompaniments surrounds his words. It all sounds so rosy but if you listen closely, the story has an unsettling abuse theme. Belle and Sebastian consistently display an intelligence to back up their undeniable musical acumen and you can quite easily browse their inlay cards like you would a glossy magazine.

'Tigermilk' has a breakneck speed (by B&S's standards!), with tracks such as 'You're Just A Baby' steaming along under the guidance of some chugging guitars and shadowy organic shards. The album is the furthest Belle and Sebastian have ventured from their folk inclinations. They may have mellowed and honed their sound since this release but looking back 'Tigermilk' sounds hugely refreshing.

'Electronic Renaissance' is an interesting departure. Sounding all synth pop, aha, buggles and resembling thoroughly ill-fitting trousers in an otherwise classy suit, it is a wacky OMD homage that is easy to listen to (well, after 5 pints of stout anyway). That 'Take On Me' drum machine bit always gets to me.

A re-recorded version of 'The State I Am In' appears on the 'Dogs On Wheels' e.p. and is one of those Belle and Sebastian tunes that isn't immediately obvious. Repeated plays reveal the gloss hidden under those delicate vocals and simple musical arrangements. Some might regard it as twee, but it has a beating heart that is twice as aerobic
as any muscle bound track suit.

'My Wandering Days Are Over' contains the most gorgeous trumpets at its heart as it swaggers with such effortless grace you'd wish all musicians would put in the same effort. 'I Don't Love Anyone' starts out like Counting Crows but soon swings into such a melodious harmony you could be forgiven for thinking that you were shipwrecked on an island inhabited only by finely tuned instruments playing sweetly in unison.

The album ends with 'Mary Jo' that starts out with dreamy flutes and an acoustic guitar and then mushrooms into a string rich wallowing chorus that transcends time and musical style. It is a song that could have been written two hundred years ago with a relevance that remains so vital to this day.

Belle and Sebastian's debut set a high standard. Luckily for us they have rarely let this standard slip on any of their subsequent releases. They remain a modern day pop phenomena, untarnished by media exposure, happy to release astoundingly touching records. If you haven't discovered them yet, imagine something so good it will make you forget your wildest dreams.