Cat No: BIPH05CD
Released: Aug 2006
- Dream On Dream Off
- Planet Mnemonic
- The Love Throat
- Hunger Artists
- Glass Period
- The Heart of the Matter
- LUCY 3 My Luxury Car
- Gamma Rays
Luxury Car’s debut album includes the following things.
1: An electronic country and western number about a car called Lucy.
2: A jittery love song inspired by Bram Stoker’s Dracula
3: Lyrics inspired by Andrei Tarkovsky, Akira Kurosawa and Tales of the Unexpected.
‘Looked up and saw her throat, not a lovelier throat I’d ever seen, and no Lucy or Mina could have asked much more.’ – The Love Throat.
Luxury Car are John and Willy Robertson, two brothers from Perth, Scotland; they have been in bands together since they were at school, and took their name from Vincent Gallo’s Buffalo 66. They are, technically, an electronic pop duo; however they don’t sound remotely like the Pet Shop Boys, Soft Cell, Sparks, Erasure, or Goldfrapp. They are not nostalgic for the 1980s, or 1970s Berlin (or 1930s Berlin for that matter). They are not industrial, or camp, or ironic, or minimalist, or Goths, or obsessed with sadomasochistic sex. Where much electronic pop music is cold, stark and hard, Luxury Car prefer warmth and poetry.
We appreciate that none of this makes them fashionable, or easy to categorise. But, as industry insiders have admiringly observed over the past year, it makes them a lot more interesting and unusual than most bands out there.
‘This city’s high fluid walls make whimsical fools of us all. To old Europe my prince I haven’t been back since. I labour for no one.’ – Hunger Artists.
If it helps at all, Luxury Car have been variously compared to Scott Walker, Pixies and the Aphex Twin. That doesn’t help? Oh well. You’ll just have to listen to the album.
‘The name could come from any motoring small ad, but Perth brothers John and Willy Robertson lifted it from a line in Vincent Gallo’s movie Buffalo 66. It is a cool reference point, just like those that litter their clean and simple electro sound, unashamedly rooted in the 1980s yet sounding fresh out of its 21st-century box. Most effective is the stirring Repulsion, as John spars vocally with Louise Healey over a ferociously repressed electric guitar and old-school synthesiser. These are real pop tunes, clearly descended from New Order and the Factory Records ethos, but richer for absorbing other leftfield influences along the way.’ – Scotland on Sunday.