Sky Above the Mud Below

Tall Dwarfs | Format: Audio CD

Product Details

• Audio CD (February 11, 2003)
• Number of Discs: 1
• Label: Carrot Top Records
• ASIN: B00008BLFX
• In-Print Editions: Audio CD  |  MP3 Download
• Average Customer Review: 3.8 out of 5 stars  See all reviews (4 customer reviews)
• Amazon Best Sellers Rank: #422,481 in Music (See Top 100 in Music)

Editorial Reviews

With the advent of digital technology, our duo have reached into that realm to investigate the myriad of possibilities of time-stretching, looping and cut'n'paste editing that the Tall Dwarfs had already perfected previously on magnetic tape. Which is not to say they have forsaken that wonderful medium, 99% of the new record being recorded to 1/2" 8-track tape before dumping to digital. --This text refers to an alternate Audio CD edition.

Customer Reviews

Most Helpful Customer Reviews

1 of 1 people found the following review helpful:

4.0 out of 5 stars contemplative, all-star affair from ageing legends, March 26, 2003

By 

Christopher Andrews (Christchurch, Canterbury New Zealand) - See all my reviews

This review is from: Sky Above the Mud Below (Audio CD)

After 20 years of continually releasing dynamic, independent and thoroughly inventive music ' the Tall Dwarfs have released perhaps their most laid-back and restrained full length with The Sky Above, the Mud Below, their 13th album. Wearing their influences on their shoulder, the album varies between shades of the Beatles and Beach Boys brands of pop, and the Tall Dwarfs trademark lo-fi inventiveness. For the first time, the group incorporates digital techniques (which might send some shivers down the spine of the purest of listeners ' don't worry it's only for editing purposes!) to modify their endless collection of loops, sample snippets, tape-effects and found sounds.

The warmth of their previous recordings is still very evident, this time being far more reflective than their previous albums. Both Baithgate and Chris Knox (who has now reached the ripe old age of 50) seem at peace with themselves, and how they make music ' no longer concerned with the "lost opportunities" that their other recent albums such as 50 Flavors of Glue and Knox's solo release Beat portrayed.

The album starts with the chirpy, upbeat tribute to the late great George Harrison "Meet the Beatle" inspired by Chris' accidental run-in with Harrison a couple of years ago. "I know that guys like me are a drag, you must have had it up to here with fans" - a lyric typical of Knox's content throughout the album. He's playing for himself now, and songs like "Meet the Beatle" and the follow-up "Beached Boy" demonstrates he knows his place in the (music) world. Knox absolutely dominates the vocals on the first half of the disc, creating an introspective flow based around timid, tentative instrumentation ' it's hard to believe this is the same duo that raised so much hell as the Enemy back in the late 70s.

"Room to Breathe" again recalls long lost Beatles numbers, with Baithgate's first vocal outing sharing a great deal of character with long lost Lennon classics. As the understated (and undervalued) member of the duo ' Baithgate has a great deal of talent for playful melodies that goes unrecognized. "Melancholy" sees Knox bring out the Oven trays (for percussive effect) along with some gentle wilting mellotron from Baithgate ' a sickly sweet ditty that's already burnt its impression on my brain ' imminently hummable.

Baithgate's given the job of pulling off the album's one true radio hit, though, with the self-effacing sing-a-long "Baby, It's Over", featuring some of the best organ and synth the Tall Dwarfs have ever committed to tape. Similar to the catchy (and somewhat revolting) singles from last album 50 Flavors of Glue, it'd be a surefire hit if only pop songs were judged on merit rather than marketing ability!

"You Want Me Shimmy" is the prime moment of humor on the album, Knox trying his hardest to pull off an Allman brothers impression, but comes off somewhere between Captain Beefheart and Tom Waits! Definitely the result of many whiskey soaked nights behind the mixing board, it serves as a great foil to the more serious songs on the album.

The album concludes with an additional 8 tracks (described on the CD as a free EP) under the 'International Tall Dwarfs' moniker to coincide with material collected from international fans, called The Weidenha'sen Impediment. The EP features Graeme Downes guitar work, a loop from Jad Fair (of Yo La Tengo), vocals, clarinet and guitar from Jeff Magnum and Laura Carter of Neutral Milk Hotel (and Elf Power) and instrumentation from the entire Clean crew, along with a loop from unknown Dutch band 'Mongrell'. Following on from the International Tall Dwarfs stunning debut Stumpy -- considered by many as the Dwarfs best album.

It's quite evident that digital recording hasn't made too much of a difference to the way the boys make music, the album still showcases the Dwarf's disdain for flashy production ' and it takes until the trailing EP before their trademark tape manipulation comes into play. All in all though, the many guest stars (and occasional stolen sample byte) blend perfectly into the Dwarfs lo-fi madness ' with even the guests from Neutral Milk Hotel being relegated to merely impersonating possums on 'Possum Born'. One of the best albums of the year so far, filled to the brim with catchy sing-a-long choruses, strange lyrical bents and references.

91%

3.0 out of 5 stars 2 great songs amidst the fluff & dandruff, October 26, 2005

By 

John L Murphy "Fionnchú" (Los Angeles) - See all my reviews
(TOP 500 REVIEWER)    (VINE VOICE)    (REAL NAME)   

This review is from: Sky Above the Mud Below (Audio CD)

This is the first Tall Dwarfs release I heard, even though I had known of them for decades. Their music is not easily found abroad, and if I had let my impressions of this album dominate, I wouldn't have trawled back into their back catalogue, where considerably more appealing efforts awaited. This album, frankly, has the standout track "Baby It's Over" and, only a bit less attention-grabbing, "The Beautiful Invader." Yes, and the first track, "Meet the Beatle," is worth a listen. While much of Chris Knox's work with Alec Bathgate as TD and on his own as a one-man solo singer/musician/songwriter/studio wizard has taken after the Lennon & McCartney tradition, this album--as the first song alerts us, seems more George Harrisonish. No sitars, unfortunately, but it's more melancholy and a bit more downbeat rather than anguished (John) or effusive (Paul).

It's not bad, but not great for the most part. Tall Dwarfs and Knox's records are notoriously hard to distinguish, given their remarkably consistent quality, but this one does show weariness. The band takes the International Tall Dwarfs concept from the CD "Stumpy" and expands it with "all-star" American indie critical faves, mainly from the Merge label. This fits, as Elf Power would be nowhere without this influence. These songs prove irritating as well as interesting: a mixed bag same as the unevenly paced album by the two Dwarves proper.

As I said, it's worth it for completists, but I'd start earlier in their catalogue first, if you're a newcomer. Too many of the tunes chug along acceptably, but the heights these Tall Dwarfs have previously reached are far less scaled this time around.

3.0 out of 5 stars Junkmedia Review - Indie elder statesmen, March 7, 2003

By 

junkmedia (Los Angeles, CA) - See all my reviews

This review is from: Sky Above the Mud Below (Audio CD)

The Tall Dwarfs occupy the same territory in New Zealand's independent music community as The Clean. While the music of the two groups have little in common, both are revered and respected as indie elder statesmen. Chris Knox and Alec Bathgate trade in the Kilgour boys' velvety rhythms for a much scrappier, fuzzed-out pop that often hits the bull's-eye. The Sky Above The Mud Below doesn't deviate from this path, revealing lo-fi nuggets resting alongside a couple of ill-considered sketches.

The two opening songs illustrate the band's hit-and-miss approach with "Meet the Beatle" and "Beached Boy." The first of these is a jangle-fuzz letter to "Mister Harrison" from an overzealous fan (Bathgate himself). It's goofy fun that wraps itself up under three minutes. The Casiotone percussion, piano and backwards guitars make the point perfectly clear that sweet simplicity will never go out of style. However, "Beached Boy" is a strained affair. Whether it's supposed to be a joke or not, one can't be sure; either way, it's a tough listen. Chris Knox's parched voice is stretched thin over some uninspired bass, loops and piano. Unfortunately, this is one vessel that should have been scuttled long before it reached the shore. In the end, the idea of opening the record with two songs paying homage to their influences was much better than its execution.

Thankfully, this is the largest misstep on the album. Most everything else retains the adolescent charm and garage-fidelity that the Tall Dwarfs are known for. Highlights include the sarcastic crunch of "Deodorant," the pretty pop of "Room to Breathe" and the Beefheart inspired "You Want Me Shimmy."

In addition to this full-length, the guys tacked on an eight song EP, The Weidenhaüsen Impediment, by the International Tall Dwarfs. These are collaborations with musical admirers from around the world including Jad Fair, Laura Carter (Elf Power), and Jeff Magnum as well as members of The Clean. The results are what one might expect from a 4-track postbox relationship between musicians -- middling.

But, I imagine what you really want to know about is Mr. Neutral Milk's two contributions, right? Well, on the first of the two he is only credited with "possum noises," so no one would be the wiser were it not written in the liner notes. However, on the melancholy "Over the Waves," Magnum's trademarked acoustic strum and floating backing vocals are unmistakable. However, Knox sings lead vocals, so it is really just a tease. Still, completists will want it. And if that exposes a handful of them to the Tall Dwarfs, who am I to complain?

Barin McGrath
Junkmedia Review