Track Listing

1. Introduction
2. Yesterday's Tomorrow
3. Flicker Of A Little Girl
4. Come Feel The Sun
5. E Type
6. Other Side Of The World
7. Organist Entertains
8. Hungry Saw
9. Mother Dear
10. Boobar Come Back To Me
11. All The Love
12. Turns We Took

Product Details

• Amazon Sales Rank: #15999 in Music
• Released on: 2008-04-28
• Number of discs: 1
• Format: Enhanced

Amazon.co.uk Review
Five years after their last album, and 18 months since their seemingly final gig, who would have thought we'd be gifted with a new Tindersticks album at all, let alone one that stands out as their best since their first two albums? Their lineup may be depleted, but make no mistake--from the first haunting notes of "Introduction" to the last soulful moments of "The Turns We Took"--The Hungry Saw is as good as it gets. The traditional Tindersticks sound--part smoky heartbreak, part sinister minor-key noir malevolence--is present and correct, and far more focussed, resulting in an early contender for the best album of 2008. Hardcore fans may lament the missing elements, particularly departed violin/second vocalist/arranger Dickon Hinchliffe, but the strength of the tracks, and the sheer thrill of hearing Stuart Staples' sleepy Cohen-esque croon tackle such gems as the title track, the gently mournful "All the Love", or the sinister "Mother Dear" prove that the band are as good as they ever were. The key moment is "Boobar, Come Back to Me"--as affecting and epic as anything they've done, and a good sign that Tindersticks still have a fruitful few albums in them yet. --Thom Allott

CD Description
This seventh album from the cult Nottingham indie chamber pop act is their first since 2003's 'Waiting For The Moon' and sees them reduced to a trio after the departure of severalfounder members. Relocating to a long-dreamt-of studio space in rural France, the band recruited new backing players and quickly laid down these tunes, whose new and stripped-downversion of their trademark sound has already been hailed byfans and critics alike. Includes the title-track single.

Customer Reviews

And then there were three...cult indie darlings soldier on as trio with seventh album
Nottingham cult band Tindersticks haven't put an album out since 2003's Waiting For the Moon, though frontman Stuart Staples passed the time with a couple of solo efforts and a major relocation to the other side of the channel. Recorded in his new French home studio, The Hungry Saw features a slimmed-down lineup consisting of Staples and other founder members Neil Fraser on guitar and David Boulter on keyboards. Augmented by hired hands, the core trio has produced an album that's pleasingly coherent in both tone and mood.

The atmosphere here is predominantly retro, feeding off the same fascination with the 50s and early 60s as evidently fuelled the younger Bryan Ferry. Staples has a Ferry-ish feel to his voice, too, and both favour a slightly mannered delivery pointed up by the retro touches - the spoken word melodrama on final track "The Turns We Took", the lounge-suit grand guignol of "The Hungry Saw" - a kind of "First Cut Is the Deepest" with added mythology.

Like 50s-obsessed magic realist movies Pleasantville and The Truman Show, the album is also suffused with plaintive melancholy, a kind of yearning for some unspecified lost innocence. It's most plainly expressed in the mysterious "Boobar Come Back To Me" and in the haunted "Mother Dear" which seems to beg for a return to the certainties of childhood. Elsewhere there are whirling instrumentals like the gorgeous "The Organist Entertains".

Like so many purveyors of past glories remerging right now, Tindersticks look set for a major return to form. Let's hope it catches fire.

(Almost) Return To Form
The outlook was not great for this album, with integral band members absent and following on from the patchiest album in the 'sticks canon (Waiting for the moon), so long term fans like myself could be forgiven for minor reservations.
HOWEVER, the news is good, The hungry saw is a success.
The feel of the album returns somewhat to the glory days of 'Curtains': Well cut suits, doomed love, pure devotion, the slight whiff of croissants, coffee and luxury leather goods.
Some tracks (Other side of the world, Turns we took) are such pure distillations of the 'Sticks sound that fans will feel a welcome familiar warmth on the first listen, reminding us all why we loved Stuart and Co so much in the first place. Each successive listen reveals more tunes, and the album is thankfully endowed with plenty of them.
The last couple of 'Sticks albums have been responsible for excessive use of the 'skip' button but the remote can now be put down; this albums best feature is its consistency.
So there we have it, an (almost) return to form, not as good as Curtains, Pleasures, I or II, but better than Can our love or Waiting for the moon.
Put aside the reservations and enjoy.

Trying to Fall in Love Again....
Having heard Tindersticks waltz themselves into a really sticky corner with 2003's "Waiting for the Moon" - lovely record, don't misunderstand me, but did it attract one single devotee who hadn't already been along for the ride? - it was still a delight to note the arrival of a new record from old friends. That said, I couldn't help wondering how the new line-up was going to shake things up. Lord knows, they needed to.

Or so I thought. On an initial listen, I was actually quite irritated by the fact that the songs seemed to remind me of nothing more than older songs by the band themselves. "Bit of a yawn, if I'm honest" was how I described it to my wife, a fellow devotee of Stuart and Co.

Then, as we'd purchased tickets (as an act of faith) for their show at the RFH in London, I sat there feeling somewhat ashamed of myself. In a set which bookended some very judicious selections from the back catalogue with both halves of this new album, everything just completely opened up and made sense. How could I have doubted them, or worse still, taken them for granted? Oh ye of little faith!

So, butt duly kicked, I really have to tell anyone who wants to know, that this record contains a collection of truly beautiful songs by a band who have graced the last 15 or so years with a sheer class and singularity of vision which you really have to look hard to find equalled. Yes, Stuart still sounds like Stuart (Hooray!) and yes, the music still evokes exactly what it always has, romantic longing, smoke filled bars, a very adult sense of sophistication, Lee and Nancy, late nights, lipstick traces...all the good stuff. But beyond that, it works so beautifully as a suite of songs that it really transports you to another space, it rewards close attention in spades. It's also this band's most "organic" sounding record ever, with absolutely nothing sounding forced. Maybe it's this quality, above all else, which the band were striving for during their lengthy hiatus.

Some great bands - Radiohead spring immediately to mind- exhilarate by taking dramatic left turns and pulling them off by dint of sheer talent. Others clearly know when they are on to something worthwhile and their careers follow an arc of refinement. Tindersticks are in the latter group. "The Hungry Saw" is another great chapter in their intriguing story and I hope there are many more to come. This is one of their best, however, and will suffice for some considerable time.

If Sebastian Faulks' truly wonderful novel "On Green Dolphin Street" ever get's filmed, they could do a lot worse than use this as the soundtrack. This band virtually lives in that beautifully rendered love affair.

Yes, that good.