Roy Moller is a unique specimen from the Glasgow music scene. He plays wonderful
Shameless genius songwriting...60s influenced, killer melodies, proper choruses and hooks to make you wet yourself. Twice. The Winchester Club, Glasgow, U.K.
about Speak When I'm Spoken To...
"Speak When I'm Spoken To" is a perfect portrait of Roy Moller: a hymn to life and curiosity, an album alive and quivering with joy, that proclaims introspection delivering the pure spirit of the sixties that banishes the common sense, the problems, the disappointments of adult life. And therefore “Speak…” is rich with sixties elegance filtered by the rose coloured spectacles of spring: from the British sixties pop Roy takes the lighter psychedelia, some bits of the Kinks, the Beatles and the Zombies, because he knows that certain emotions don’t have a sell-by date; and in spite of the heavyweight group of friends rushing to help out… Roy’s album is the product of a knight of romantic pop, a residue of the lonely optimism found in the intense works of Emitt Rhodes at the beginning of the seventies. And therefore, with guitars and keyboards, a harmonica and many harmonies, Roy constructs songs that turn on rhythmic patterns in constant rotation, that cite Dylan (“Baby, Look No Further”, “Great Wall of China”) and the Merry-Go-Round's American version of Merseybeat (the excellent “First You Fall In Love”) with an adult touch , right up to the remastered “Maximum Smile”, even more splendid than we remembered it, woven from a base of oriental fabric and with that chorus, “Once in a while, Maximum Smile” that explodes right on time like the spring. And at the end, when Mr Moller comes to wish us all goodnight , (“Goodnight Everyone”), his is the sweetest of all goodbyes. Salvatore, www.indiepop.it , April 2007
I remember being quite fond of Roy's debut 7" a few years back, so I'm glad we finally get an album full of songs from him (including both sides of the original 7"). There are a variety of styles throughout the album, as almost all of the songs were cowritten with several other people, and there are over a dozen additional musicians helping out, including some notable names like Stevie Jackson (Belle & Sebastian) and Ulric Kennedy (Golden Dawn/Catalysts); the majority of the songs fall in a sunny pop vein, somewhere between Donovan and Belle & Sebastian, but I can hear hints of the Beach Boys and Simon And Garfunkel in places, as well. Even with all the cooks in the kitchen, the album still comes out sounding great, with quite a few instant favorites, like "Six Degrees", "First You Fall In Love", "Maximum Smile" and "Train Your Thoughts On Love" peppered throughout. A not-so-sleepy sleeper hit! MTQ=11/11 www.indiepages.com , March 2007
Although Speak When I'm Spoken To is Roy Moller's debut solo album, he's actually something of an elder statesman of the Scottish indie scene, reflected by the fact that the album features contributions from former members of DHK and current members of Belle & Sebastian … Sounding a bit like a psychedelic Nick Heyward (oh alright then, an even more psychedelic Nick Heyward), with breezy sixties-influenced arrangements that fall somewhere between Kevin Ayers' Joy Of A Toy and Petula Clark's Colour My World, Speak When I'm Spoken To is worth a listen for its relentless upbeat-ness alone. As it's also crammed full of punchy pop hooks decorated with backwards guitars and radio-friendly sitars, it sits several miles above most of the other miserable Deacon Blue-a-like dullards currently masquerading as 'indie' and getting all the plaudits, and anyone with even half a liking for Belle & Sebastian or others of similar quality are directed towards this superb album." Out On Blue Six, January 2007
The album has a fantastically wide range of era influences, gained from decades of experience in the buisness... The powerpop sound adds energy and excitment to the feel of the songs. While some tracks are more chill-out-laid-back kind of tunes, others are clearly animated dynamic groove inspired numbers. Rose On A Thorn, February 2007
How long is it since the great single Maximum Smile appeared on Hamburg's Felicité singles Club? Definitely three years! However, a good thing is worth the wait and now it's is ready - the debut album from Roy Moller has appeared … besides it has his Glasgow buddy Stevie Jackson on further songs performed and produced in a similar fashion to the single, mixing timeless sunny 60's sounds and British guitar pop! Pleasing stuff! Marco Floess www.revolver-club.de February 2007
Speak When I'm Spoken To contains really good traditional pop music. It seems to be very 60's/70's orientated pop album and for example The Kinks comes to mind a few times. As does some 70's power pop bands and even finnish Ben's Diapers in the chorus of Her Collected Poems... Six Degrees is a great 60's influenced track that brings to mind that chap who has a gap between his two front teeth. If you happen to love scottish guitar pop like TFC, BMX Bandits, Speedboat, Nice Man & The Bad Boys...you will surely love the song Maximum Smile. First You Fall In Love is a great power pop track and Her Collected Poems is a really beautiful pop song. And well the list of really good songs could go on and on.. Baby, Look No Further, Train Your Thoughts On Love, David Niven.... a delightful pop record. Kind of down-to-earth album that can still charm you with great arrangements. ...most of the songs show that you don't need an orchestra or big soundwalls to create hook-filled good pop record. Just skillful and talented songwriter with a perfect pop sense is usually enough and that proves to be the case with Roy Moller. 4/5 One Chord To Another, Finland, 2007
an album of no- nonsense near-perfect pop...a mix of classic pop (Six Degrees), rolling rock riffs (the title track), Dylanisms (Baby, Look No Further), 60s go-go (Teachers), and hook-filled energetic numbers that Belle & Sebastian themselves would surely sacrifice a half-dozen members to have (First You Fall In Love, Train Your Thoughts On Love). Moller's voice is a decidedly less fey instrument than Stuart Murdoch's, sidestepping reservations some may have about the Scots tweesters. Similarly, Moller shies from the overt bookishness of his contemporaries' lyrics, opting instead for sunny directness that serves his songs well. It's a delightful musical train-ride through a host of influences – without ever becoming less than Moller's own – unencumbered by expectations or unnecessary flourishes.
Pop kids looking for something quality, but not yet flogged to death on the blogs, should get on to this now.
4/5 (Topher Healy) Rave Magazine, Brisbane, Australia January 2007
The truth behind Roy Moller. Actually, not that much of a story really, except that the Belle & Sebastian track named above (Roy Walker) was written for Roy Moller, occasional collaborator with the Belles, and who has just released his own debut record, Speak When I'm spoken to on Book Club records. But don't run off just yet, because it's nowhere near as twee as you might think. Mixing some recognisably Belleish instrumentation (expected given that Stevie Jackson has been on producing duties) with some 60s style psychedelic sitar and Beatlesesque vocals, Moller's produced some lovely little ditties. Music Slut, December 2006
The inspiration here is not to be found in any old or recent Scottish scene: melodies, harmonies and choruses are clearly 60s California Coast influenced, at times also reminiscent of the Kinks… while instrumentation and sounds sometimes send back to good old British psychedelic works. Great job from a very gifted and unconventional artist!
Pop'n'Cherries, January 2007
Roy Moller certainly has something that raises him above mere connections. This baroque popster's current record, Speak When I'm Spoken To, does indeed have B&S members helping out behind the scenes, and Moller himself has contributed to their albums - even having a song written about him. But Moller's vision is more upbeat here - a Kinksian, harmonic labour of love...delightful songs Metro 26.01.07
Roy Moller Wins Prestigious "Best Album Of 2006 That No-One's Heard" Award
Tragically, the one album that this here writer would consider genuinely worthy of prominence in any half-decent writeup of The Best Albums Of 2006 was pretty much uniformly ignored by the so-called 'tastemakers', so here's a little bit of long-overdue promotion for it. Although Speak When I'm Spoken To is Roy Moller's debut solo album, he's actually something of an elder statesman of the Scottish indie scene, reflected by the fact that the album features contributions from former members of DHK and current members of Belle & Sebastian (also, the cover design is by Ron Bookless, who long-term readers may remember did some fantastic illustrations for some of my old fanzines). Sounding a bit like a psychedelic Nick Heyward (oh alright then, an even more psychedelic Nick Heyward), with breezy sixties-influenced arrangements that fall somewhere between Kevin Ayers' Joy Of A Toy and Petula Clark's Colour My World, Speak When I'm Spoken To is worth a listen for its relentless upbeat-ness alone. As it's also crammed full of punchy pop hooks decorated with backwards guitars and radio-friendly sitars, it sits several miles above most of the other miserable Deacon Blue-a-like dullards currently masquerading as 'indie' and getting all the plaudits, and anyone with even half a liking for Belle & Sebastian or others of similar quality are directed towards this superb album. Out On Blue Six, January 2007
about felicite 03...
roy moller is a fantastic songwriter from glasgow...his debut recording...has an upbeat storming chorus and the original sitar from legal man played by stevie jackson who co-produced....rough trade, london
“I was born in Edinburgh at the same hospital as most of the Bay City Rollers” - great, formidable... ROY MOLLER is in any case a genius and by this single on the famous Félicité label my love for Guitar pop again was anyhow awakened. A spring rain poured over me, and old, stunted impulses saw the beckoning light of the world. Do you recall the feeling the first time you heard "Odessey & Oracle" by THE ZOMBIES This prickling in your body? With this disc, both the label and ROY MOLLER have achieved a highly compressed masterpiece. Soulful Pop with Groovefactor with "Maximum Smile", continuing in a West Coast vein with "David Niven". One of the best records for a long time and somehow such an AHA effect for me. Yes, there it is, pop music with warmth, with desire - ....and one shouldn't sound any differently if one wanted to write the perfect Popsong in the practice room. Such areas only lie usually in Scotland, as also in this case. Roy’s been swarming around Glasgow for a long time... has his record CO-PRODUCED by Stevie Jackson and captivates by an excellent musical taste. Its tally of influences/favourite tracks clearly earns top marks with a star. Buy this record! www.hochverdichtet.de
fantastic pop! delicious goldfish, sweden
...truly a little pop pearl...marco, revolver club, hamburg
...the single is produced by Stevie Jackson (from Belle & Sebastian), and after listening to the B-side, 'David Niven', I would have guessed it without looking at the sleeve. It sounds pretty much like a song that Belle & Sebastian could have included on their 'Fold Your Hands Child, You Walk Like a Peasant' album, with the piano being a notable instrument in the mix. This is not a bad thing at all though, and I quite like the song.
Actually, when I first listened to the single, I listened to 'David Niven' first, thinking it was the A-side, but I soon realised I was wrong and flipped the coloured piece of vinyl over and listened to the proper title track, 'Maximum Smile', and it strikes me that it’s not as good as the flipside. Sure, it’s still good, but the song about the deceased actor is even better. So, maybe you could switch the labels? Well, you shouldn’t bother, really. This is a very good single as it is. And a very nice sleeve too!
Tommy Gunnarsson, Pennyblackmusic, UK
...maximum smile resonates with sixties echoes & has a killer refrain & a bassline that seems like one of pino palladino's..with sitar (played by stevie jackson...)this (is a) delight in paradise.
...david niven...is made to appreciate. think of a cross between paul mccartney & sam cooke sounding like the bee gees. delicious....www.indiepop.it (italy)
...fine indie pop songs. tweenet, uk
This is from Germany's Felicite label, a first single release. Indie pop with an effective organ - which the lover of expectation certainly likes. Hatena: In Harmony, Japan
...belle & sebastian connections aside, is the record any good? well, yes, it's sodding great. roy decides to lead us through a 70's pop romp with maximum smile. the members of belle & sebastian are clearly here for a reason & have exerted some influence into the very assured pop song that flows along quite brilliantly....richard collings, do something pretty fanzine, u.k.
...this is like the beach boys...make(s) for a sound that is good and fresh...isthismusic?, scotland
this single...contains two terrific pop songs! The a-side has a bit of a northern soul influence, and a really great chorus. The flip is a more upbeat tune that sounds a little like belle & sebastian (surprise, surprise), but I wouldn't call it derivative at all. smashing debut! www.indiepages.com , seattle
...my personal favourite: Roy Moller with "Maximum Smile". Whoever christens the B-side "David Niven" cannot be a bad person. Felicite Singles Club review, Intro magazine, Germany
about egg 053
...a three song EP of catchy Zombies-esque fairy-pop, an impressive follow up to his first 7” Maximum Smile (a two song EP of pure genius and Beach Boys calibre pop) will rip you out of your mundane world and into a place where all is sunny and upbeat, surrounded by frolicking lovers in fields of sunflowers. The strongest track, “First You Fall In Love”, with 1960s era guitar parts and an abundance of shakers (!) admits “first you fall in love. Then you find a girl. Then you find another girl.” Yet the song remains cheerful, as Roy’s beautiful vocals mix with the instrumentals in a way that would suggest this song is the “love child” of George Harrison and David Cassidy. But it works, and the child is stunning.
Check out Fermez La Bouche on Pickled Egg if you like Belle & Sebastian (whom Roy Moller has collaborated with), The Beatles, or perfect pop songs that stick in your head for days.
Kelsey Ciatti-Miller, The Felix, Imperial College, London
| Tracks one and three on this 10-minute maxi-single are bouncy bubblegum pop, with a sound that echoes the Kinks and George Harrison. "First You Fall in Love" adds in the Modern Lovers and Of Montreal, and "Speak When I'm Spoken To" has a hook that won't leave you alone. Meredith, 75 Or Less, USA, Feb 2006 |
Wasn’t it only a few missives ago that we reviewed with an air of awe like wonder more common with children an ultra limited release (50 copies) by Roy Moller («Second City Firsts ») for the esteemed (and much loved here) Heliotone Records ?
Former Meth OD man returns with a goodie bag of newly penned classically tinged pop and sees him teaming up with Rob Smith (ex-sparring partner from his Meth OD days) and Ulric and Dannie (Of Catalysts/Mixers/DHK fame).
Fermez La Bouche features three sublime master class cuts of drifting wide-eyed West Coast shimmer pop that opens with the exquisitely crafted "First You Fall In Love" that hazily beams with an alarmingly hip swinging British pop psychedelia mentality rather than the usual West Coast vibe that seems to be happening these days and blessed with a catchy as hell late 60’s summer tang a la Traffic/ Spencer Davis Group (Here We Go Round The Mulberry Bush) and replete with enough sultry sun baked keys as to have the most ardent retro aficionado cooing in delight.
Flip the disc for the ultra cool "Leave It Well Alone" – softly baked to such a point that it ‘s not until it’s over that its charms hit you straight in the face as though some kind of delayed reaction is at force. And well "Speak When I’m Spoken To" – what can I say, by far the best of the pack – if this doesn’t suck you in and have you falling head over heels in love then by rights you shouldn’t own a record player. Remember the Busy Signals kaleidoscope psyche pop being teased and tousled by elements of softly stirring top drawer lounge as found on Baby’s First Beats ? Well, magnify that ten fold, add in an army of serenading strings, melting arrangements and the euphoric pop brain of Pete (« look I know how to create a memorable epic to floor the listener » ) Wylie and you have a cut so irresistibly fetching and sun dazed you swear the wax it’s cut into is melting. Mark Barton, www.losingtoday.com, UK, 31.05.05
Opener ‘First You Fall In Love’ has all the swagger of a young swinger striding down ‘60s Carnaby Street, making it a pity that Glasgow’s weather has recently been switched by God from Balmy to Ferocious, Yet Predictable. The Scott Walker-esque ‘Leave It Well Alone’ shows Moller demonstrating a vocal range that has previously eluded him, but it would appear that we are now dealing with a far more confident artist. Bravely leaving the best for last, ‘Speak When I’m Spoken To’s catchy guitar hook is begging to be sampled, Moller’s assertive vocal married to it skilfully.
All in all, an impressive effort that’s well worth the price of a pint. Any association with B&S casts a lengthy shadow, but Moller seems ready to step out of it to find his own audience. Ed Hales, Speakerspushtheair, UK, Oct 2005
Roy Moller is a Glaswegian singer-songwriter who does a lovely mid-sixties jangle and isn’t ashamed of it. His new 3-song ep is entitled “Fermez La Bouche.” First You Fall In Love is head bobbing 60s bubblegum, all chiming guitars, ooh ooh vocals, and girls girls girls. Right away it had me thinking Monkees or maybe even early Lovin' Spoonful. Leave It Well Alone has a more pensive feel, tinged with regret, but is otherwise brisk and Beatlesque. Speak When I’m Spoken To seems strange after the first two songs until you realize that it’s 60s pop filtered through a thin layer of grunge, which turns out to be an interesting twist.
www.indiedisco.com, usa nov 05
A psychedelic folk pop sound, where the arrangement work, pushed up to a special position, is splendid. Shop Escalator, Japan.
The lead track is a fairly stromping power pop number built on swirly keyboards and a propulsive rhythm section whereas on the flip the songs are more reflective and occupy a similar space to later Belle and Sebastian. melody bar, glasgow
This is his second single and, the first greatly being a favourite, the buying of this was necessary. This is the equal of the first with a mod/power-pop flavour. Hatena: In Harmony, Japan
...3 track EP of cool '60s flavoured pop fairly reminiscent of Belle And Sebastian (Belle & Seb personnel contribute to the record)...there's hints of Beatles, Kinks and Beach Boys here too...Jumbo Records, Leeds, UK
Long-time Belle And Sebastian collaborator Roy Moller goes the whole hog this time and gets Stevie Jackson and Bobby Kildea in on this 7". And yes, there's a definite sound of the band here - it's that uptempo, piano-driven version of the Belles we hear here, but to be fair, if we'd not read the sleeve notes we'd hear a bouncy indiepop ramble with grittier vocals over an understated backing (given the fact it's a 7-piece band). Mention too of "First You Fall In Love", a meatier, Spectoresque sound. 4/5
Bernhard Bessing, isthismusic? August 2005
Fermez La Bouche consists of three great songs which count on Roy's beautiful voice in sweet and soft melodies... ("First You Fall In Love") opens with drumming that goes growing in intensity/rhythm followed by a keyboard that gives the tone of retro/sixties of music, clean guitars, and Roy’s delicious vocal appears, making this the best track. With the refrain "girl, girl" prominent in the "backing". It’s one of those songs that sticks in your mind never to leave. The B side has two more excellent tracks. Calmest, "Leave It Well Alone" is led by prompt drumming and uses a perfect deep synthesizer. "Oh, oh, oh" s create the climate reminiscent of the best songs of bands such as Zombies, Left Banke and, not without reason, of the Beatles. The second track of side "B" was for me a great surprise. A little different to Roy’s previous songs (on the earlier record), this track possesses a line of guitars and rather intense “rock” drumming with rhythms that go in a more 70s direction, recalling the Paul McCartney of the period. "Speak When I’m Spoken To" is the type of song that grows on each hearing! One of best 7" that I have had the pleasure and luck to listen to this year.
www.poptapes.com.br Brazil
This Glaswegian singer-songwriter has been working with Belle and Sebastian for years, and is now stepping out on his own with this e.p. of summery pop - great stuff. pure groove, uk
The longstanding collaborator with Belle & Sebastian (in fact he has a song with his name) publishes his second single from Glasgow. Co-produced by Stevie Jackson (B&S) who also plays on all but one of the three tracks, this single combines details that go from sunny Californian pop to soul, from the aromas 60s to the sounds of the 90s. Roy Moller gives all one. Lejos Discos, Santaigo Spain
Second single for Moller, helped on guitar (and the production on two of these pieces) by his friend Stevie Jackson - that doesn't mean Roy is not in a position to shine his own light.
"First You Fall In Love" is "heavy" pop that covers its every square centimetre with more instruments than is lawful...upbeat pop with vinage guitars - that freakbeat spirit intrinsic to the sun of the California coast, taking the best from both sides of the ocean. Compared to his debut single (Beach Boys and Belle & Sebastian on the throttle) there is a greater knowledge in the choice of sounds and the type of artistic progression rare to witness within POP. No more music with a clean face but a slice of concentrated chaos by which means melodies of organ, drums, bass, tambourine etc wallow in a happy groove...
Better still (is) "Leave It Well Alone" - a 60s ballad...the chorus and structure are both Zombies-esque for by far the best piece on the disc.
"Speak When I'm Spoken To" is in a dazed and confused fog on an amazingly sharp riff, probably the 70s equivalent of the two tracks that precede it... A beautiful step ahead for the progress of Roy - a step back for pure & simple pop functionality, but this is a single that will bear its fruit at the right moment. For now it has completed the transformation of Roy into a damned hippie and that doesn't displease us completely.
www.indiepop.it, July 2005
Another three melodic pop songs from Glasgow-based indie favourite Roy Moller grace this new EP. A-side First You Fall In Love... is undeniably catchy, well paced and generally happy, in that slightly over-layered Belle And Sebastian pop style and it wouldn't sound out of place on one of the better Belle And Sebastian albums. The band's Stevie Jackson appears as a highly touted guest guitarist...Moller's gentle melodies and pretty pop tunes could become a favourite with indie fans, and they are easily good enought to justify this... Daniel Creasey, Pennyblackmusic
Three new songs from Glasgow's Roy Moller dripping with harmony, melody and West Coast 60s pop shimmer rough trade, london
...like a poppy upbeat Belle & Sebastian tune with hints of the Monkees and 60's pop in there. It's a cheeky one indeed. A rather bouncy, playful and enjoyable affair. norman records, leeds, uk
About Heliotone 007
Six rare home recordings from the talented Roy Moller that will appeal to all those who love their sounds uncomplicated and unobtrusive, and when we say talented we mean talented because across the course of this release's 14 minute duration Moller seductively draws together the varying strands of West Coast pop and 60's shimmer and when aligned to his frail strokes of melodic classicism, radiate with such warmth and disarming guile as to have you breathless. "Mis-Spent Youth" opens the set almost stumbling misty-eyed in a hazy countrified Fable Factory meets Of Montreal via Moviola kinda way before moving for a brief excursion to take in the dusty paths that lead towards Nashville for the simply exquisite Bolan and Everly Brothers stand off that is "You Did Ask". Elsewhere it soon becomes apparent vocal wise that there's a Lloyd Cole thing going on here especially on the exquisitely formed summery nugget "Wonder Understand" where the tender jangle of Byrds-esque guitars sweetly fall away with Clock Strikes 13 romanticism nibbling gently into latter period Ray Davies musical hall realms. Then there's the haunting fix of lost memories rekindled on the simply arresting "Golden Grey" where Moller treads softly into pop corridors more associated with Justin Hayward but it's the stuttering baroque delivery of the harpsichord effects within the EP's only instrumental "The New Third Lanark" that'll melt the coldest of hearts couched as they are in the melancholic essence of the Beatles "Eleanor Rigby". A simply special release. Mark Barton, www.losingtoday.com
showcases Roy's ability to write fantastic power pop songs and more. the killer cut is 'Mis-spent Youth' which is short and full of catchy harmonies. rough trade, london
Surely a record destined to be traded by indie kids on eBay at vastly inflated prices at some point in the future, this clear 8" contains a number of pop gems. Moller's previous work has been produced by Belle and Sebastian member Stevie Jackson, who is also a sometime collaborator. Whilst that link alone will ensure Moller sells a few copies of this, the songs are good enough to stand on their own..
Thankfully he also shares with (Belle and Sebastian) the knack of crafting a great song when he sets his mind to it. These home recordings have definite bedroom production values but the merit shines through. Opener "Mis-Spent Youth" is particularly good. A different perspective of the value of youth, it manages to be catchy without being annoying and cute without being twee...
Daniel Cressey, Pennyblackmusic
..."Mis-Spent Youth" arrives directly from the West Coast of 1967 but is obviously not born to be wild - it leans on its guitars like an old man on his little stick before ascending along the nearest fast freeway and is an attractive surprise, more authentic than all the Elephant Sixes of the world. "You Did Ask" further simplifies the melody and overlays it with fleeting Beatlesque touches..."Wonder Understand" almost suggests "Paint It Black" immersed in a sort of reflective psych and a solid refrain....
It's like listening to one of those old bootlegs of the Beatles for the minimalist effectiveness, such as the baroque harpsichord of "The New Third Lanark", originally written for Roy's group, Meth O.D.
www.indiepop.it, July 2005
