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Review of Sugarfoot in Hot Press Magazine, Ireland - March 2003

Taking lo-fi to mesmerising new places,cane141 combine dreamy electro synths,soprano and folk vocals,gentle guitar picking,digital beats and haunting soundscapes to create an altogether heavenly mess.This limited edition single is only available from the band's website,www.cane141.com. Log on for more details-this is one you won't want to miss.

Review #1 - gtm review from soundsxp

Cane 141 play classic, bucolic pop with a slightly experimental feel: there are shades of Saint Etienne, Go Betweens and Stereolab, all mixed into a sweet package. Itís all pretty laidback, graceful and moody but never simply washes over you. Eager Boy Comics is a good example: a graceful and mellow Bacharach-like pop song with a bossanova beat accompanied by electronic touches that reinforce its contemporary sound. By contrast, Me and Michael, is sad and poetic with spacey electronic effects and phoned-in-from-Pluto vocals, in a Flaming Lips style. In the Sky, The Lucky Stars is a mesmerising and aching song, worthy of the Go Betweens or Belle and Sebastian. It starts acoustically, embraces you in a warm swirl of gorgeous melodies and then it ends, just when youíre on the point of addiction. The Grand Lunar is melodic, laidback and warm with a hypnotically catchy chorus. New Day Parade is a sweet pop jewel, with Nick Drake vocals and, in its pastoral-sounding longings, sounding a little like The Lilac Time (not least in the Julie Christie references). The wistful, lonely melodica sound is particularly effective and Mark Eitzel guest-vocals on the track, which is also being released as a single. There are touches of Loveís intense, sorrowful pop in The Party and the Velvet Underground in their quieter moments (Photocredit One).

Cane 141, daydreamers and romantics to a man, make shimmering and affecting pure pop pearls. Donít let them pass you by.
Reviewed by Ged

Review #2 - gtm from 'The Fly'

Garden Tiger Moth - the second album from Cane 141, it will be released on February 19th through Decor Records. If Belle and Sebastian/Air/Any Lo-Fi madness is your bag, then reserve your copy now.

How effortless life can seem. Everything about Cane 141ís second album is like a breath of fresh air, from the combination of strolling acoustics and cheerful electronica on Eager Boy Comics to the Belle & Sebastian-like Photocredit One; all of it feels as wonderful as a breeze on a hot summerís day. The St. Etienne sparkle of The Grand Lunar revels in its own sweetness, the horns that gatecrash The Party open up a whole new world, and every single track is astonishingly appealing. This is in no small part down to the lyrics, which are sometimes reminiscent in style of The Auteurs and never written just for the sake of it. Lines such as, ĎItís like you play the part of Julie Christie and I play the part of Tom Courtenay,í (a reference to Dr. Zhivago) reflect an appropriate spirit of melodrama. The words fit their role perfectly, opening up a hugeness of space, and never making the fantasies seem too far-fetched. The pretty melody of In The Sky, The Lucky Stars, explodes in a translucent mystery of Twin Peaks mystery and you canít help but fall in love with this album. An album where every ending makes sense of its beginning.
Reviewed by Johnny K

Review #3 - omh.com

Cane 141 - Garden Tiger Moth (Decor)
Release date: 12 March 2000

1. Eager boy comics
2. Grand lunar
3. In the sky the lucky stars
4. Real spacemen never walk anywhere
5. Photocredit one
6. New day parade
7. Party
8. Photocredit two
9. Scene form 6am
10. Me and Michael
11. Look out kid

This first release from Decor Records (we assume, as we have no press release to say otherwise) is from some Galway chappies collectively known as Cane 141. Comparisons with or Ladytron would be more appropriate for the most part when discussing instrumentation than tired parallels with Tim Buckley or Nick Drake - at least for some of the songs on Garden Tiger Moth. The remainder of the album is acoustic, and just as you've gotten used to it not being so. A surprise a minute, then.

The opener, Eager Boy Comics, is full of analogue synth and 7th chords over something that sounds like a synthesised saw with lounge wind instruments parping, engendering memories of the soundtrack One Flew Over The Cuckoos' Nest - both the Chief's escape and Nurse Ratched's daily therapy sessions. And.... you can dance to it!

The second track, Grand Lunar, is even more of a surprise, for here is a sensuous lead vocal laid over music featuring instantly memorable chords played on an organ and live drums. Analogue effects dominate to great effect - and this is really rather fab - even when a trumpet turns up!

In The Sky is a more sedate offering, while Photocredit One and Photocredit Two would not sound out of place on Damon Albarn's Greatest Hits, all ancient drum machines, sleepy vocals and carnivalesque keyboards. New Day Parade starts out sounding like a marriage of the acoustic guitars of Radiohead's Creep and Brian's melody for Turn Your Lights On and roughly finishes in the same vein. The Party is Enrico Morricone territory - fantastic cowboy country landscapes and Spanish bullfights are brought to mind by the beat and that trumpet again. Scene from 6am is Tram territory, but is instantly contrasted by Me & Michael's effects, which are more Bis than anything since... well, Bis. The Look Out Kid is as spectacular a finish as you'll ever get to an album - and it emphasises that the production of the record is as talent-laden as the songwriting and performance.

Overall, the album manages to make analogue keyboards combined with acoustic guitars sound like they represent emotion. This is something even the best 1990s bands using such equipment usually couldn't manage - they'd instead sound like they were using keyboards because they were trendy, but would really rather get back to guitars fast. A verdict, then? Sumptuous vocals, great arrangements, imaginitive instrumentation and effects, honed to perfection. More, please. Now.
Reviewed by Michael Hubbard

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