I believe this was the second of three new music compilations from Matchbox Recordings in 2007. Its two CDs carry 40 tracks from 40 artists and it takes two and half hours to play through.
With "The Big Indie Comeback 3" preceding it and "Stay in The Box 2" following, that's about 120 tracks and 120 different artists for the year. And unless I have got the wrong end of the stick, all of the artists concerned have paid to have their music represented in this way.
I haven't seen any reviews for the compilation anywhere and Matchbox Recordings themselves offer no indication that here have ever been any. To be honest, I can't imagine any music professionals trawling through such a deep wedge of unpromising material when reliable contacts, Myspace and last.fm already provide far more unattached music with potential than anyone could ever listen to. The artwork and title - spilled popcorn and advice to "stay in the box" - are pushing the self-deprecation so far that I did wonder if Matchbox had thought carefully about how it might be read. In search of my own focus, I am writing this with some concern for the amateur artists who hope to expose their recordings through such channels.
The experience of sitting still for two and half hours listening to one track after another with no reference points, no involvement and no pleasant surprises was not easy. I had to break it down into shorter bursts and to find other things to do while the tracks were playing. On a second listen through, the most predictable and derivative material got a few bars attention at the beginning, a few more in the middle and then I clicked on in search of fresher sounds. 11 made enough of an impression for me to note their titles and listen all the way through once or twice more.
What I am saying here is that Matchbox Recordings seem to have applied only the widest mesh to their selection filters. Most of the artists on this double CD should have been advised to stick with Myspace, a box of CD-Rs and their local music circuits. Local and regional music is healthy and fun in lots of places. Reaching out for wider recognition in advance of any local encouragement (especially through this wholesale and possibly indiscriminate approach to advocacy) could be absorbing energy that could be better used closer to home.
I settled with some relief on NATHAN HILTNER's "How Does it Feel": a track with noticeable integrity and talent. There's a crisp acoustic guitar style, a pleasant voice and a tune that sticks - the basis of more than a few successful careers. It's not a "hit record" (whatever that means) but it does have musicianship and individuality that could be developed. I find, on HILTNER's Myspace page that the song appears in a fuller and more sophisticated version. And while it isn't the sort of thing I would usually listen to or write about it has a mainstream appeal and fluency way beyond the average.
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By my rough reckoning another ten have something worth pointing to:
MOLDIG's, "Horizon" has a great start with stinging guitar and a contemporary drive. But the rather blurred female voice adds little to a shapeless tune that only picks up when the guitar phrase reappears.
BILLY SKINNER, "Tomorrow's Sun" sounds like the kind of song that would liven up a bar full of beer drinkers who weren't paying too much attention to the arcane detail of instrumentation or originality.
FELIX JONES, "Afterworld" has a hint of blue grass harmony with a nicely unexpected synth organ and lively drumming. More than competent but less than life changing, with a big silly guitar solo and a singable chorus line.
THE SAFEHOUSE, "Lifts" starts in sampled interestingness but lapses into a shapeless band song sung with forced emotional pressure for an over-long five minutes.
TOWER HILL, "Jobless (Remix)" does something with an Ian Dury sort of voice in Gorillaz sonic territory.
WIRED DESIRE, "No One Sleeps" opens with a classic drum intro but then wanders off the plot with extended guitar chunks from the mid 70s and vocal homage to Guns n Roses. There are plenty of good people out there who are willing to pay to hear such rip-roaring music.
THE NAYSAYERS. "Gone As I Can Get" is a gentle country rock lament.
NORINE BRAUN, "Be Brave, Do It Right" has coffee and cream near-jazz cool.
AQUAVENUS, "Dance With Me" tries (and names) some funky Latin rhythms with a standard female vocal decoration and a dull verse redeemed by a hook in the title phrase.
WELLSVILLE, "When She Wakes Up" has a disagreeable teen whinge that has enough character and melodrama to be loved by those who love it.
www.matchboxrecordings.co.uk/artists/a&r
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