To say I was surprised when I was sent this EP by Katharine Blake was something of an understatement as I was under the impression that MSG had broken up years ago. Turns out that is indeed the case, but they reformed for a gig in 2022 and are now set for a full tour. Formed in 1990, MSG toured with the likes of Depeche Mode, Nick Cave & the Bad Seeds, Hole, Blur and Einstürzende Neubauten, releasing four studio albums before going on hiatus in 2001. The current line-up includes founding member and lead singer Katharine Blake, drummer Trevor Sharpe and bassist Teresa Casella (who were both involved prior to the hiatus), plus new members Justine Armatage (keyboards), Bev Lee Harding (vocals) and guitarist Kavus Torabi who replaced founding member and guitarist Ben Golomstock who died in 2018.
Listening to this was very unusual for me as I have not previously heard any MSG, as I came to the music of Katharine through Mediæval Bæbes, and her other side projects have been very different to this. It is also strange as while this is “new” material, both songs are more than 20 years old. Although “Velventine” was recorded in 2000, Katharine was unable to open the old Logic files so instead took raw performances and mixed them with the new band, which means we can hear Golomstock on both of these, as the second song, “Sex Garden” was already completed (and a version was released as a double ‘A’-side with “Tonight” in 2000, but I do not know if it is the same).
Lots of history there but given the background behind this band I do feel it’s important. They started off busking, had a #1 classical music album, and toured with some of the most important acts of the day, but how does this stack up with the music of today? I have long been a fan of Blake’s vocals, as she is one of the most interesting and intriguing singers around, and here she allows herself to take full centre stage with a swirling emotional sound behind her with a beat which is not really dance speed but is dramatic and gets the listener moving. The song is more than six minutes in length, with some dramatic edgy violin and keyboards which feels somewhat timeless, somewhat evocative of Radiohead, and the input of a harpsichord feels both incredibly wrong and just right at the same time. This is music for headphones, where Katharine can really get inside our brains, and I can only hope this means there will be a new album soon.
Rating: 9/10
