Question: Any plans to visit the UK?
Answer Martin Gordon: I do make the occasional appearance in various Berlin venues, which keeps the costs down as I can cycle home at the end of the night. I would like to scale up this approach, but I think 1200 kilometres would be pushing it a bit. But let’s see.
Martin Gordon (centre), with Ralf Leeman (left) and Romain Vicente (right).
Track 2 is Coming Over, again that warm feeling of nostalgia and familiarity washes over you as Martin and band deliver yet another quality slice of sharp lyrics backed again with the great chant along chorus. The lyrics are bang on on point, this is a damn fine track and I can see a crowd bouncing along to this track, if we were ever lucky enough to see it performed live. Martin lives in Germany now and so a visit to the UK may not see him coming over for a while.
Question: What are you up to to pass the time, or what book are you reading as the world hunkers down?
Answer Martin Gordon: Actually I’m revisiting some old music theory texbooks – the OUP ‘Harmony and Counterpoint’, and Walter Piston’s ‘Orchestration’, and am considering forming a one-man bass orchestra. I would have to audition myself, but I think I stand a pretty good chance of getting the gig. My newly-acquired looper might help out here.
And just as you settle back, Martin as always tweaks your senses. Is it ok to call it a “cover”? Prelude in C, Bach no less! Just listen to the wicked bass Martin puts into this. Would Bach like it? Its totally packed with some fine electric guitar playing magic, percussion items, and a strong drum pattern. You know, I think he might well of liked it. Martin unpicks the threads of this and then redresses it with style and attention to detail. It’s simply stunning to hear.
Will Of The People: “A single release. This is the family-unfriendly version, which may contain the word ‘Rees-Mogg’ and which will definitely frighten miners.”
Wild Old Men is up next – so we move from Bach to a maracas shake and a fistful of guitar riffs sparking up. Tea and cakes served by Aunty Mabel. This is another sharp track as we are invited to reminisce “over the drugs we took”. A lovely guitar and piano combo and all the while that bass bursts through your speakers accompanying Martins vocal style. If you cant remember what pop songs used to sound like, then this album may help. A pub style honky tonk piano opens and you are pulled in for what could almost be an east end sing song for Flat Foot Frank. A song about a flat pack merchant/builder and flat pack virgins. I mean, who else could do this? To end the song we are treated to ducks – its just quackers!
He is outspoken, always refreshingly honest, a humour that is sharp as a razor blade, but he comes across as utterly charming with an ever roving eye for collating those details. That detail is dropped into the lyrics. Google World is up next and slows down the pace set by those Wild Old Men. Consumerism is the target here. He says what he thinks and voices those views and opinions, this one is backed by a bass clarinet. The melodies and musicianship on this track will want leave you wanting more when it ends.
Does God Believe In Me? Now there is a question. Now there is a song title! Howling guitars fire us into this and again the chorus to this will be rattling around in your head days after you hear it. Martin can put down a tune that other bands can only dream of. Martin infuses his own special brand of pop punk/punk pop into this album and it is as finely honed as ever. Turn up the music box for the title track OMG and I swear your ornaments will move to the rattling bass opening. The song again is topped with an ear worm of a chorus. Just listen to the guitar riffs tucked into this, that, every so often break out from a speaker and lick you in the face. Let Drone take you away as Martin wants to invade your private spaces. I Know It All took me fondly back in time to what has to be one of the finest tunes put on vinyl with There Are No Russians In Russia. Class.
Question: You have released some great music Martin, and I am going to try and pin you down here, what are your proudest achievements in recent times?
Answer MG: That must be playing bass on a Frank Zappa tune with the Ensemble Modern in The Gambia, topped off by being asked to conduct them through another piece of theirs which we had worked up in Dakar the month before. We, namely the Liberation Orchestra plus me on bass, had rehearsed our parts, so all we had to do was slot the EM in on top. And we did! All most unlikely and highly satisfying. It transpired that Dietmar Wiesner (the composer of the second piece) had participated in the Zappa/Ensemble Modern recordings from the 90s: we sat in Banjul until late at night over warm beers and I insisted he tell me his stories of the great man.
OMG is overflowing at times with joyous sing-along moments and a load of air guitar/air bass opportunities. OMG is an excellent auditory treat, and it just works in different ways as the album progresses. The opening tracks hit a great early stride. It is all expertly crafted, and the sound is technically able. Some wisecracking lyrics and observations and tunes – put it all together and it nails that hidden sweet spot.
All in all this really is a pleasant, pleasurable, indie, classic, punky, rocky slice. I think I covered all the genres this album covers. And if you still wish for a blast of the Radio Stars era, then OMG is spot on. But then you get so much more with this album. Martin always has something to say and it is always worth listening as it can be fun but he usually tucks a serious side in there. It is a collection of fine tunes.
Question:The Mael brothers?
Answer MG: Good heavens, are they still going? Well done them! That must give hope to all septuagenarians. At least, I imagine it would.