Waiting for the Moon

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Editorial Reviews

Barnes & Noble - Lydia Vanderloo
If Brit-pop is best known for melancholy -- from the bracing rock of Radiohead to the tear-in-your-tea pop of Coldplay -- then Tindersticks could be its poster boys. With his stylistic and literary nods to Leonard Cohen and Nick Cave, frontman Stuart Staples possesses the kind of whiskey-informed baritone that can make fragile fans weak in the knees, and on Tindersticks' sixth album, he deploys it well on gorgeously sad songs that are both comforting and discomfiting. Downplaying the Curtis Mayfield–era soul that cropped up on 2001's Can Our Love -- though it still suffuses the aching love song "Sweet Memory" and "My Oblivion" with a heartrending warmth -- the band ...
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Editorial Reviews

Barnes & Noble - Lydia Vanderloo
If Brit-pop is best known for melancholy -- from the bracing rock of Radiohead to the tear-in-your-tea pop of Coldplay -- then Tindersticks could be its poster boys. With his stylistic and literary nods to Leonard Cohen and Nick Cave, frontman Stuart Staples possesses the kind of whiskey-informed baritone that can make fragile fans weak in the knees, and on Tindersticks' sixth album, he deploys it well on gorgeously sad songs that are both comforting and discomfiting. Downplaying the Curtis Mayfield–era soul that cropped up on 2001's Can Our Love -- though it still suffuses the aching love song "Sweet Memory" and "My Oblivion" with a heartrending warmth -- the band settle into another set of darkly orchestrated guitar pop familiar as a worn wool sweater. After starting with the uplifting "Until the Morning Comes" "My hands 'round your throat / If I kill you now, they'll never know," croons Staples, the disc reaches an early crescendo on "4:48 Psychosis," which finds the morose singer reading lines from the titular play, written by the late Sarah Kane. Typically, Staples carries Tindersticks' songs, but here his lines are nearly submerged in an escalating, Velvet Underground–like wave of intertwining electric guitars, propulsive rhythms, and swooning strings. A similar whirling dervish of sound -- squawking strings, a dreamy guitar line, and cacophonous horns -- fuels "Say Goodbye to the City," suggesting a Nick Cave arrangement, while Staples continues his tradition of weepy duets on the conversational "Sometimes It Hurts," where he trades verses with Lhasa de Sela. The whole album feels like one glorious comedown -- a sonically rich, emotionally draining experience that, oddly enough, compels revisiting.
All Music Guide - Andy Kellman
The fact that Waiting for the Moon isn't much more than another addition to Tindersticks' discography will be enough to keep the devout fans pleased. At this stage in the band's existence, it is mightily impressive that a mediocre record has yet to slip out of the den. However, neither this nor Can Our Love... threatens, at any point, to rival Simple Pleasure -- let alone anything that preceded it. Apart from the increased vocal presence of arranger and multi-instrumentalist Dickon Hinchcliffe, who provides a much-needed bittersweetness to counter Stuart Staples' familiar warble, there's not much to add apart from the fact that numerous dimensions from the band's past are sprinkled throughout. So, even more so than before, the casual fans will have difficulty pinning down the minor differences and developments that distinguish this album from the one that came before it. "Say Goodbye to the City," similar to the most fiery moments of the band's first record, builds a dramatic, storming rush of rumbling rhythm, blaring guitars, droning strings, and demented Tijuana brass. Just the same, "4.48 Psychosis" is a noisily agitated spoken word piece that gleans from Sarah Kane's same-named play. Though "Sometimes It Hurts," an elegant duet with Lhasa de Sala, makes the album seem all the more like a trip through the past, the still-present soul influences that ran through the previous two albums seem more like a logical extension. Few bands can get away with being in a holding pattern like Tindersticks. When they remain this potent -- indicated from the very first lines of the album, "My hands 'round your throat/If I kill you now, well, they'll never know" -- it's all but impossible to wish for the band's end.
Blender - Todd Pruzan
The perfect introduction to Tindersticks' queasy, cinematic elegance.

The perfect introduction to Tindersticks' queasy, cinematic elegance.
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Product Details

  • Release Date: 6/17/2003
  • Label: Beggars Uk - Ada
  • UPC: 607618023225
  • Catalog Number: 80232

Album Credits

Performance Credits
Tindersticks Primary Artist
Dave Bishop Baritone Saxophone
Terry Edwards Trumpet
Gina Foster Vocals
J. Neil Sidwell Trombone
Steve Sidwell Trumpet
Jamie Talbot Tenor Saxophone
Lucy Wilkins Violin
Calina de la Mare Violin
Sara Wilson Cello
Oliver Kraus Cello
Dave Boulter Group Member
Mark Colwill Group Member
Howard Gott Violin
Dickon Hinchliffe Group Member
Rob Spriggs Viola
Lhasa Vocals
Neil Fraser Group Member
Alasdair Macaulay Group Member
Andy Nice Cello
Becca Ware Viola
Louise Peacock Violin
Catherine Browning Violin
Naomi Fairhurst Viola
Fiona Brice Violin
David E. Williams Violin
Ian Burdge Cello
Stuart Staples Group Member
Jacqueline Norrie Violin
Ruth Gottlieb Violin
Chris Worsey Cello
Brian G. Wright Violin
Sophie Sarota Viola
Gillon Cameron Violin
Sarah Button Violin
Reiad Chibah Viola
Wendy DeSaint Paer Violin
Emily Frith Viola
Vincent Greene Viola
Fiona Griffith Viola
Christopher Koh Violin
Chris Mansell Cello
Colin McCan Timpani
Anna Morris Violin
Lucy Theo Viola
Technical Credits
Tindersticks Composer
Ian Caple Producer
Dave Boulter Composer
Dickon Hinchliffe Composer, String Arrangements, Brass Arrangment
Stuart Staples Composer, Producer
Suzanne Osborne Cover Painting
Ian Cople Producer
Tim Young Mastering
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