Earlier this year, I was reading an article about the Sleaford Mods on Louder Than War when I clicked over to a sidebar link to a video John Robb had posted which he said was “like all the great moments of Stiff Records rolled into one.” Naturally the heady promise of this description piqued my interest and I immediately hit play on the video for Scott Lavene’s “Mentholated Blue.” I teach film at the university and I thought the video, featuring Lavene in colorful street scenes of Harlem and Coney Island, would be worth showing to my students. So I heard it twice that day, and I thought “what a really pretty song” but that was about it. Then this semester I thought I’d show it again. This was just the third time I’d heard it and after that I simply could not get that song out of my head. Not that I wanted to. “Mentholated Blue” is a sweetly gorgeous love song and I found that it really appealed to me. I played the video again and again. Then I noticed that there were several more Scott Lavene videos, so I watched a few of them, (literally) laughed out loud many times and then looked to see if the album—titled Broke—was streaming on Tidal. It was.
You know how you always know the first songs better than the last ones on most albums because you rarely get to the end of one? I’d play the first three songs on Broke, then I’d have to do something. Then I’d return to it and get a bit further along and with each subsequent song I was hearing I began to see the contours of an extremely impressive songwriting talent emerge. And as I’d already seen in his music videos, the man was a wonderfully comic and highly charismatic performer. This Scott Lavene character really caused me to sit up and pay attention to what he was doing. No one in the media (other than John Robb, of course) told me I was supposed to like this. I felt like I had truly discovered a major—and as yet completely unknown—talent.
Sadly the views on his videos seemed depressingly low for how brilliant they were and for the great deal of effort that had obviously put into them. But I did notice that the online reviews of Broke were largely in line with my own opinions.
Read a few excerpts from them, so you don’t think it’s just me:
Scott Lavene finds the wonder in the ordinary
“I’m not cool,” says British singer-songwriter Scott Lavene. Nor does he try to be. In a scene overloaded with Arctic Monkeys wannabes, the earnestness of someone who marches to their own beat shines like a beam of sun through cloudy skies.
Backseat Mafia: Album Review Scott Lavene Broke
Back in 2016 I reviewed an album by an act called Big Top Heartbreak. Deadbeat Ballads was one of those albums where the personality of its creator truly shone through. It was a shame then that it languished in relative obscurity, with even being absent from some of the bigger music cataloguing websites. Its cult appeal was obvious though, and it was heartwarming when I saw the hits for the review here on Backseat Mafia slowly but steadily creep upwards years after its release. Deadbeat Ballads had an appeal beyond its cult appeal. Big Top Heartbreak made music that endured. For the next couple of years after its release, I kept my ear to the ground for news on Big Top Heartbreak, hoping that there would be a follow up to Deadbeat Ballads, but alas, as time progressed it seemed that it would be the sole standalone release for a talent that just didn’t get the attention it deserved.
Then a few months ago an email dropped into my inbox asking if I would like to review a new release by some guy called Scott Lavene. In the back of my mind a connection was made. An email was fired back to the PR company, asking if this was the same Scott Lavene who had previously recorded as Big Top Heartbreak. Turned out it was. Not only that, but the album was on its way to me.
Be it music released as Big Top Heartbreak, or under his own name, Scott Lavene has an innate talent for narratives delivered from the social perspective of those on the fringes of society. Not only that, but his instantly recognisable voice encourages empathy for those characters he is singing from the perspective of. Now you might think that that is one of the main requirements of any singer, but you’d be amazed just how rare that quality actually is, but it is one that Lavene has a surplus of.
***snip***
As is often the way with albums made of songs with string narratives, Broke is an album where different songs leap out at you every time you play it. “Super Clean,” “Modern World” and the title track are three tracks that never fail to make an impression, while “Methylated Blue” is an accessible number with a measure more production polish than the rest of the album. “Methylated Blue” practically screams out as the song with the most crossover potential, as it is complete with pretty melody, a chorus which hooks you in, and once again a narrative that even those of us unfamiliar with the references that Lavene makes can’t help but have an emotional response to.
Broke is an album which encourages these emotional responses, but doesn’t do anything so crass as demand them. It’s an album that gradually convinces you of its worth without having to shout about it, and in a music scene where competing for attention is the norm, it’s lovely to have an album by an artist that has a clear and convincing voice, rather than trying to shout above everyone else. Regardless of what name Scott Lavene records his next album under, I’ll be listening out for him.
Singer-Songwriter Produces One of the Best Albums of the Year So Far
Imagine if, instead of being born to an Evangelical Christian family in Maryland, Father John Misty grew up in the UK, spending his formative years smoking rollies outside the local Wetherspoons. With Scott Lavene, we have something similar to what we’d expect. On the basis of his debut album Broke, we’re witnessing the arrival of a promising talent with a gift for language.
[I know Josh Tillman and this is amusingly on target if you ask me. Compare Lavene’s “Modern World” to anything on FJM’s Pure Comedy.]
God is in the TV: Scott Lavene’s Broke
It shouldn’t be thought that Broke is a throwaway affair, however. Flotsam it ain’t. A fair chunk may be easily imaginable as the inspiring outro movie for a grimy but ultimately uplifting British movie, but, there is a grit and emotion that gives it weight. It’s ramshackle but there is depth. Took a couple of listens to get to that heft, but it’s there. A sincerity and honesty in the raw lyrics. Not being someone who obsesses over lyrics, it takes a lot to prick up my ears. Here you get the full range from urban meanders about gentrification and getting loaded to the plaintive, “dancing on two left feet, straight into the arms of some place new.” As a description of the human condition, that rather nails things.
Broke is a totally British record. There are sparkles and glitter over the possible highlight, “Methylated Blue,” but even those lyrics about stars in the sky seem anchored by the half-arsed ordinariness of suburbia. Suburban country blues with half-spoken, half-sung musings; that about sums up this effort. That may not sound immediately inspiring, depending upon your tastes, but it certainly grew on me. Putting on weight and gaining two extra points by the third listen.
Have a listen to “Methylated Blue” and it will give you a sense of Levene’s style – musical, conversational and with the wit that you can hear in the chorus “Girl, you’re really someone I can get used to/ She said ‘Boy you’re really someone I could get used to too’.” It’s not Romeo and Juliet – but it captures the couple beautifully. Like the best of, say, Otway or Dury, you’re simultaneously in the song sympathetic to the characters and seeing them from a third person perspective. Rather nice.
I agreed with all of the above wholeheartedly. Lest you be thinking I cherry picked the best reviews to bolster what I’m saying here, that’s just about all of them. This guy is a major, major talent, but these reviews, as nice as they all are, seemed to be coming from small blogs. No attention from the media capital of London.
Finally, after taking at least a week to get there, I listened to “Someplace New,” the final song on Broke. It was more on in the background. I wasn’t really paying attention to the words, but the melody, his voice and the way he was singing, almost subconsciously, moved me to tears. That’s a neat trick. And then I started it from the beginning again. This time I paid attention and oh boy is that song a strong fucking close to an undeniably brilliant record. Achingly gorgeous, if “Someplace New” was the final number in a Broadway or West End musical, there would not be a single dry eye in the house.
So yeah, I feel like I’ve “discovered” someone under the radar who could be, and should become, a well-known and respected songwriter-performer. And I’m trying to spread the word. Life experiences, as you will see below, have given Lavene a lot to write about. His songs can be deeply funny, but they can also be just… deep. Although Scott Lavene is almost always compared to Stiff artists like Elvis Costello or Ian Dury—justifiably so if you ask me—I also can’t help thinking his songwriting compares favorably to Randy Newman’s work.
In any event, Scott Lavene is constantly getting compared to some of the greatest storytelling singer songwriters of our time. There must be a reason for that, right?
So this is my Christmas gift to you, DM readers. If you like what you hear, spread the word about Scott Lavene’s music. You can buy Broke on Amazon (the CD is currently on sale for $5.57) or via Scott’s Bandcamp page.
I asked Scott a few questions over email.
First off, please tell me, and the readers, a bit about yourself.
My name’s Scott. I’m a musician and a writer from Essex. I like staring out the window and I like tea and toast and motorbikes. My first album under my own name, Scott Lavene, came out in June. It’s ace. I’m tall. My missus tells me I’m odd. Which is good.
What sort of music were you listening to growing up?
A mixed bag. All genres. If it’s good I like it. I was raised on The Beatles, Free, Stevie Wonder. My mum would buy me a 7-inch every week and I’ve still got them. A lot of pop music but then the 60’s and 70’s really got hold of me, The Doors, Small Faces, Ian Dury, Stax and Motown. I listen to music that made me feel something. Then as I got older and started listening to the words I got more into great lyricists and punk, Tom Waits, Dylan, Leonard Cohen, The Clash, The Ruts. However, I have always had and always will have a deep love for power ballads.
You’re often compared to artists from the Stiff Records roster. There was a sort of recognizable Stiff sound, and you’ve definitely got it. Was that in any way intentional or do your songs just come out that way?
At some point I stopped writing songs like other people and started writing songs about what I saw around me, how I felt, in my own voice. It wasn’t intentional to be compared to Stiff but I’m really happy about it, as I love that bunch. I think my accent and the nostalgic content has made some people compare me to Stiff’s roster and Squeeze. Maybe because not many people make story-based songs anymore. I’m definitely influenced by classic English punk and post punk but two of the big influences for me for this album were Jonathan Richman and Serge Gainsbourg.
Is the cover of Broke meant to evoke New Boots and Panties?
A mate and I went out taking photos for a couple of days and that was just the best one. We were aware of the similarity to New Boots and Panties but we saw it as an homage to an incredible album and cover.
I’m going to hazard a guess that some, if not many, of your songs are autobiographical, or have an element of that. Did you, in fact, spend Christmas in an asylum?
I’ve spent some time in houses for the bewildered. Six months. But no, not over Christmas. I wrote that song for my band, Big Top Heartbreak. A friend of mine who I’d shared a room with in there had a breakdown and went back in on Christmas Eve. I found it quite romantic and inspiring. You’ve got to find beauty in tragedy sometimes. He’s okay now. So am I. Most of the time. Most of my songs are autobiographical but I never let facts get in the way of a good song.
What was the impetus for you getting your shit together?
For a long time I had strong desire to kill myself and no hope that I could ever live in society again. Ha ha ha ha. I hadn’t picked up an instrument or written a word for five years. I was adrift and covered in scars. I had to be smashed to pieces in order to start again. When I emerged again I wasn’t sure if I was going to play or write anymore but then I started attending, and then working for, a charity that provided music and writing workshops for people with mental health and addiction problems. I wrote a few songs and the clarity and poise of them was very more-ish so I kept going.
I’ve read that you’ve also got a one-man musical play that you’ve performed at fringe festivals. What is The Truth About Men about?
It’s about mental health, unplanned pregnancy with someone you’ve just met, youth, domestic abuse, addiction, redemption. Something for everyone. It’s dark comedy really. I should be taking it on tour next year
What IS the truth about men? Does this get answered in the show?
Well I can’t give too much away but the theme is based around the masks that we put on throughout life. Men and women do it and I did it for years, pretending to be okay when I was not. Suicide rates are high and getting higher and I always hear people saying things like “he seemed fine the day before, we were having a laugh and making plans for the future,” I’m not trying to change anything with art but I do think that people are afraid to appear vulnerable. Yeah. The show’s got some great songs and a real heart to it. The response has been great so far.
Your song “My Stereo” could be the theme of Brexit-era Britain. Tell your record label to get on that one, stat!
I did today. Thanks. It’s going to be released next year with a new video.A catchy song about my distaste for small talk.
Do you direct all of your own music videos?
No. I’ve directed quite a few of them with help from friends when money is tight. The other ones have been made by a friend, Marcus Way, who really knows what I want. We make them together really. But he gets paid! I love making videos mainly because I get to act like a dick in front of a camera for an afternoon. Bingo.
The musicians on your album are outstanding. Do you have a proper band when you play out?
The fellas on my album are too busy and expensive to play out with. They’re bloody amazing. Making Broke was the best experience I’ve had musically. Hearing my simple songs turn into what they became still gives me shivers. It happened so fast as well. Great fellas. I played out with a band for the Broke tour but mostly I tour alone with an old 80’s tape player as my ‘band.’ My songs are so wordy that it’s nice to just play them in a simpler form, though given the choice I would rather play with a full band all the time.
Lastly, was Broke recorded to analog tape? I ask as my ears are sensitive to things like that, and I wanted to see if I was right…
Basically yes. It had some digital tinkering but it was mixed to tape and we took tape to be mastered. The album needed it and is better for it in my opinion.
Ha! I knew it!
“Apples and Pears”
“Super Clean”
“Broke”
“Methylated Blue”
“My Kinda Girl”
“It’s All Gonna Blow”
“Late Night In Billericay”
“Hollywood”
“My Breath Killed The Roses”
“Christmas in the Asylum”