It is reportedly a half-truth when Tom Greenhouse tells in the opening track “Musicians” how he roamed around town to recruit members for his band. At the end of those five and a half minutes, bongos, saxophones, samba whistles and guitars enter the mix, betraying an Afrobeat influence.
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This is nothing short of revolutionary for a band that had settled into a very intense, very British post-punk minimalism (reference: The Fall). Here now the turn to the baroque. We learn from frontman Greenhouse that expanding the band didn’t work out. Wouldn’t have been necessary either, on SOD’S TOASTIE the Greenhouse musicians skilfully take a detour to early Belle & Sebastian pop, include organ arches that are worthy of monument protection in the songs or work with dedication on their kind of drone.
Tom Greenhouse is the always somewhat evil narrator who, instead of singing, gives information about how extraterrestrial visitors influence the life of his song hero, or what to expect from “The Neoprene Ravine”, an alien version of The Velvet Underground . It’s great fun, fun that dances on more than three chords this time.
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