Craig Bethell

This is the music of Craig Bethell.'A Day Full of You, A Night Tired Of Me' is out now on Infraction Records, and can be bought directly from the label at www.infractionrecords.com or from a number of other online outlets. The UK one is www.normanrecords.com. If you're unsure where you can pick it up, please send a mail here. But hurry, we've had alot of orders already (thanks to all those people who've already bought the album), and only a limited number were pressed.The debut album by ex-Locust vocalist, Craig Bethell introduces a plaintive songwriting style that unashamedly croons its way through a set of eleven very varied songs influenced by celebrated avant-pop baritones Scott Walker and David Sylvian as well as many other pioneers in the idiom of the modern (and not so modern) torch song. Unlike many male singers chartering similar territory, Craig’s voice lacks any affected, mannered qualities, and is often reminiscent of the natural, maudlin tone of Chet Baker’s voice.Starting with an instrumental overture, evocative of the B-side tracks from Bowie’s ‘Low’, opening song, ‘December’ transports the listener to the bleakest of winter nights and a cry for redemption…This is followed by ‘Post Modern Times’, probably the set’s most obvious single, a call for hope in a 21st century dystopia set amidst a densely layered backdrop of textured noise, driving rhythm and melodic arpeggios; ‘Put my name down for finding, all the life that’s worth finding in post-modern times.’‘Roll The Dice’ is next – imagine Rufus Wainwright soaring over a backing track by Massive Attack, all rumbling bass, Rhodes piano and atmospheric strings, with a memorable hook that begs the question ‘who said that chance could improve or enhance?’ ‘Finding The Light’ slips things into 3 /4 mode beaten out by percussion that includes water drops and the faint murmur of Jeanne Moreau whispering ‘je t’aime’. And as the synths, bass and brushed drums pulsate, the singer implores ‘can you give me a reason why I will never be loved by you… or someone like you?’The stripped back, haunting piano and harp motifs of ‘History Repeats Itself’ crescendo with a chorus of voices before fading. This gives way to ‘Waiting’, homage to the Bebop sound of Bill Evans and Miles Davis, fused with some of the electronic sounds more typical of Fusion jazz.‘Other People’s Dreams’ and ‘I’m Coming Through’ embrace warm, gurgling and fizzing analogue synths whilst remaining exquisitely melodic – Aphex Twin, Depeche Mode and Paul McCartney blended together to create a new shade of blue.The dark, menacing paranoia of ‘Bad Blood’ is not for the faint-hearted. A dense fog of chilling atmospherics and words that contemplate a thousand conspiracy theories. The sadness of ‘Those Days Are Gone’, a rueful duet about a relationship gone awry is a respite by comparison.Finally, we are plunged to the lowest depth, the bottom of the well, the zenith of despair. ‘A Night Tired of Me’; uncompromisingly bleak, introspective, desperate, surrendered. But a rich, deep vocal and the hum of cascading drones give this swansong a real drama, that finally resolves itself and sees some light ahead – ‘Our new lives begin today, let’s get started.’London based songwriter Craig, started composing his distinctive style of melodic, melancholic songs aged 14 in his hometown of Worcester in the west of England. This was 1983 and inspiration came from those artists who had experimented with electronic sounds. This era also signalled the beginning of a prolific, although sporadic partnership with Mark Van Hoen, which continues to this day.The ‘88/’89 line-up of Craig & Mark’s band moved to London, but after a couple of years looking for a deal, split. In 1996 Craig joined Mark’s R&S Records project Locust, contributing to the ‘Morning Light’ album, and subsequent tour.Craig retired from music for a while to focus on a career in publishing, returning fulltime to songwriting in 2006 to complete the collection of songs that make up his first solo album.So a new talent emerges, 24 years in the making…