The first time around, I struggled to really get into this. Les Cox's sound simply doesn't conform to, well, anything other than their own highly flexible rules. Consequently, the listener - ok, so I'm speaking for myself here and assuming the implied listener) is likely to be left feeling rather nonplussed. However, once the disparate range of styles and the rather lame name have been overcome, it's altogether more easy to find the appeal.
If the name suggests Les Cox are a comedy act, it's completely misleading. That isn't to say that 'Scheis Mit Reis' isn't without humour, cluttered as it is with off the wall word-play (the title's a dead giveaway) and obscure and unusual references (can you think of another contemporary band to name a song after a pre-Raphaelite painter? Step forward Les Cox, with 'John E. Millais'). 'Dead Beat Formula' kicks things off and is off-kilter rockabilly and super lo-fi, and the rough-edged, fuzzy sound is one thing that does link all of the tracks. Credit goes to Sea records for putting this out, too: I suspect many labels would have handed the CD back, saying 'some interesting demos there, guys, so when can we expect the album?'
There's a touch of The Fall about the title track, in its wilfully underproduced, ragged and discordant feel and lurching tempo change. Elsewhere, 'Darkroom' is a simple and quite charming composition, and one the one hand I can't help but wonder if there aren't some really great songs half-buried under the fuzzy, scuzzy no-budget recording quality, but on the other, these qualities contribute to much of the album's appeal. Besides, some of the tracks, such as the ramshackle 'Big Twista' are so perfectly suited to this primitive sound that they wouldn't work is given a slick, glossy sound. 'Live it Down' crashes along, dominated by a stomping, grunged-up bass. Lumbering between sparse verses and chugging, detuned bass that's thick and solid, there's another touch of The Fall about it. The weight is lifted by some weird noodlesome peripherals and there's a distinctly improvised feel to much of the material.
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There's quirky indie-pop in the form of 'John E. Millais' (actually a story that tells the story of his life - sort of) and 'God Vor Domma,' while 'Coastal Motherfucker' covers wired-up garage skiffle and is truly bonkers. And this is precisely why this is such an entertaining album: it's the sound of a band who have ideas and ability, yet are willing to experiment and really couldn't give a hoot about convention or commerciality. If the songs were neatened up, restructured, tightened up and rerecorded using more than three tracks of the mixing desk, Les Cox (Sportifs) would have legions of fans singing along to the quippy little hooks that litter their repertoire. However, that wouldn't be nearly as much fun as this.
http://www.myspace.com/lescoxsportifs
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