"There was always something so exotic about Les Disques du Crepuscule, the Belgian label and European cousin (in essence) of Factory Records. Thus it was perfectly suited for the sophisticated pop music that Alison Statton came to be associated with. She had already been involved in two bands that had reached cult status overnight (Young Marble Giants and Weekend), so it is only fitting that her third musical venture ended up being held in equally high regard. Partnering with Ian Devine (who was part of forgotten Mancunian band Ludus), they continued in a similar vein to Statton’s work with Weekend: light, jazzy pop music that was reminiscent of early Everything But the Girl. Their first release, 1989’s The Prince of Wales, was a glorious showcase for Statton’s exquisite voice and the pair’s devotion to Welsh nationalism, even if it was done in a subtle, melodic way. 1990’s Cardiffians followed a similar template to its predecessor but in this case, more of the same was a very welcome thing. It featured a more substantial band (including New Order’s Peter Hook), although it is hardly noticeable, yet the under-riding Welsh theme is still evident."
"A close contender for the album’s emotional climax shows up here, in the second-to-last slot where such things are usually appropriate. If “Your Bones” was Raggi’s big, weepy anthem, then this is Nanna’s. It’s got a warm hint of nostalgia to it, but also a slightly haunted feeling, her clear, youthful voice hinting at a loss of innocence as she begs, “Can you chase this fire away?” Beyond that and her reminiscence about a special house she used to visit in her younger days, this one’s abstract enough that I’m not quite sure what it’s about. Whatever the subject matter, it would certainly make a fine concert closer for the band, as it doesn’t take long for everyone to come crashing in at the same time, with brazen electric guitar chords, loud and proud accordion, and rolling snare drums, turning the song into an up-tempo march that work together with another spirited round of “la la la”s to make the song feel like it could be played at the world’s happiest funeral. Admittedly, if you’re not a big fan of groups filling space with stuff like “la la la”, then you might find some of these bigger, more climactic songs near the end of the album to be a bit repetitive. But I’ll give them a pass for that since even without everyone singing in unison at the end, the musicians are playing their hearts out and the whole thing is rattle-the-rafters exhilirating."
