If you know Looper at all, it would be because of this track
“Mondo ‘77″, from their second album, The Geometrid, has been used in films and numerous commercials, and is the high point of the album. As it is the first track and there are still nine others, that’s rather unfortunate.
Looper consists of the husband and wife team of Stuart and Karn David. Stuart was the ex-bassist of Belle and Sebastian, which, next to “Mondo ‘77″ is the bands’ second claim to fame. The band’s music wavers between loop-based instrumentals, saccharine pop tracks, and dense spoken word pieces. You can divide all of the music on their first two albums this way:
Up A Tree
Loop Based Instrumentals
“Up A Tree” (track 1)
“Ballad of Ray Suzuki” (track 5)
“Back to the Treehouse” (track 10)
Saccharine Pop Tracks
“Burning Flies” (track 3)
“Quiet and Small” (track 7)
“Up A Tree Again” (track 9)
Spoken Word
“Impossible Things #2″ (track 2)
“Festival ‘95″ (track 4)
“Dave the Moon Man” (track 6)
“Columbo’s Old Car” (track 8)
The Geometrid
Loop Based Instrumentals
“Mondo ‘77″ (track 1)
Saccharine Pop Tracks
“On the Flipside” (track 2)
“Uncle Ray” (track 4)
“These Things” (track 6)
“Bug Rain” (track 7)
“Money Hair” (track 10)
Spoken Word
“Modem Song” (track 3)
“My Robot” (track 8)
“Tomorrow’s World” (Track 9 on The Geometrid) manages to bridge the gap between their pop tracks and their spoken word… of course, most of their pop tracks feature some loop-based contingent, while most of the spoken word tracks feature regurgitative loops throughout the background to middling effect.
I was quite enamored with Looper when I first heard them, buying both albums in quick succession, but I very quickly became bored with them, quite enough to give their third release, “The Snare” a pass, even when I was just cresting the apex of my completest habits.
Some of the pop tracks are annoyingly catchy, which I think is part of what drew me to Looper in the first place (earworms can’t be undervalued) but at the same time the repetitiveness of the individual tracks honestly becomes too much.
My honest preference were the spoken word tracks, featuring Stuart David’s Scotch brogue, but even those wear thin their loops after only a few listens. There’s not a lot of longevity in these albums and their sound has worn thin for me.
After The Snare, which was Looper’s big-label debut, they broke from their 5-record contract, citing creative differences, and have since set up a website (flagged as an attack site! Oops) where they make and distribute music for free, vying instead for making money of licensing their songs. I imagine “Mondo ‘77″ remains their cash cow.