Sukilove – S/T

‘A wistful affair, but an appealing one nonetheless… Belgium’s answer to the alt country boom. While the songs have clearly been written on the acoustic guitar, the full-band arrangements and augmentations really lift them in imaginative and deceptively subtle ways… Recalls some of the gentle songwriting experimentation Wilco were up to at the time’ – RECORD COLLECTOR 

‘Still sounds fresh and beautiful and as if it was recorded yesterday. Think of Beck at the time of Sea Changes. Think of the controlled mess of Pavement. Think of Sparklehorse. Think the fab four and their white and later LP’s’ – Luminous Dash

‘Ahead of its time. A vaguely gothic feel to the music, and a decidedly European take on Americana, mixed with bits of Radiohead and more Germanic influences’ – Americana UK

‘You will have a lot of fun with this record’ Da Music

‘I don’t see why this great album shouldn’t finally get its day in the sonic sun’ – THE BIG TAKEOVER

‘Timeless Belpop classic… World hits in an alternative universe. One of the commercial features of Sukilove is the heavenly, multi-voiced vocals. Think: The Beatles (of course), but a sixties band like The Beach Boys or Big Star also pops up as a source of inspiration. Just as we heard echos of an ultimate indie band like Pavement when re-listening to Sukiloves’ debut. And here and there there are also scraps of Zapaian madness in the Sukilove universe, such as during the kazoo-rigged ‘Man ain’t man enough’ for example.’ – CUTTING EDGE

‘Sukilove‘s self-titled debut seems rather timeless. It feels like it could have existed any time between the 1960s and now, its gentle Americana feel being punctuated every now and again with Flaming Lips style bursts or perhaps Eels. Probably more so the former, in moments such as the ramshackle closing moments of ‘Hang On‘, but then there’s also a kind of ‘classic singer/songwriter’ bent on ‘Shame You Never Worry‘, which is as melodic as something Paul McCartney might write but also imbued with the kind of slacker rock for which Pavement are known.

Frontman Pascal Deweze is an exceptional craftsman, and it’s extremely impressive the band can flit easily between being awesome noise cacophonists halfway through ‘Did You Ever Feel So Lonely?‘ and then sumptuous balladeers on the likes of ‘Computing Beauty‘, ‘As Long As I Survive Tonight‘ and the outstanding ‘Unforgivable‘. It’s something to behold actually. Plus, usually, I’d be a bit surprised by a two-minute acoustic song being employed as an album’s closing track, but those “oohs” give it a haunting effect which puts it on the same level playing field as say the classic Smiths number ‘Please Please Please Let Me Get What I Want‘ seeing out their 1984 compilation Hatful Of Hollow.

Elsewhere, tunes like ‘Man Ain’t Man Enough‘ recall the energy of some of Wilco‘s early work, its melody also not too far removed from the genius of Joe Jackson, though this track ends with a dissonance not found in either of those artists’ output. This is a fun album, and although probably around half of the twelve-strong set veers more towards a zephyr-like forbearing, it’s still extremely easy to get lost in. Occasionally these songs call to mind the late Karl Wallinger’s World Party, and that is praise indeed, I would say.

It’s interesting that the opening gambit here, ‘Time To Go‘ is probably more in keeping with the kind of Americana I mentioned earlier than the rest of Sukilove is, though it’s no less beautiful for it, the pretty plinky-plonky piano and plucked mandolin strings (I think) giving it an elegant yearning that not many bands can pull off so well.

What a little gem this record is. Yay for reissues.’ – GOD IS IN THE TV

‘Bruised chamber pop’ – comparisons with Beach Boys, Divine Comedy and Bonzo Dog Doodah Band – WHISPERIN’ AND HOLLERIN’