Usually considered as an EP or listed as “12 inch”, this early slab of Sneaky Feelings magic contains eight tracks and feels more like an album to me. About two years ago while record shopping in Australia I came across their album and bought it without realizing that it was actually a compilation containing six of the tracks from Send You. Sneaky Feelings are one of the earliest Flying Nun bands, exemplifying what history has designated the “Dunedin sound” – lo-fi jangly pop guitar. I don’t find this too “jangly” though—it rocks out quite hard in places. The only Sneaky Feelings I’d listened to before 2008 was back in the late 90s when I played their ‘Greatest Hits’ compilation Positively George Street a lot on my car stereo. I’ve managed to pull their four long-playing vinyl releases together quite haphazardly over the past four years, finding them here and there on my various worldly travels.

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Discovering the brilliance of Send You was a very pleasing experience. Some songs sprawl a little (which is why I think of this as an LP and not an EP) but they’ve got great tunes and great vocals. Sneaky Feelings are a four-piece with at least three, maybe four, songwriters and singers which gives them a rich palette of ideas to draw from. Lyric-wise, I find it hard to catch all the detail owing to the occasionally noisy histrionics, but generally the songs seem to dissect disintegrating relationships with a fine scalpel. It may take those who aren’t familiar with the older Flying Nun sound a little acclimatizing to get past the off-key vocals, but once you do, they sink deeper than any pitch perfect diva ever could. Jeff Mangum is my go-to guy for an example of when a wavery vocal proves to be the best kind of singing, and the vocals on Send You are just as magnificent. Take it away Bumstead Waiting For Touchdown does in fact open with a fairly jangly guitar line soon joined by soft rhythm guitar, bass, drums and David Pine’s wonderfully nasally vocal (almost a sneer), although I’m not always sure with this band whose voice belongs to who.

This is a slow burner about catching up with an old friend/lover, the lyrics full of anticipation: “but I hear you calling / Softly from the clouds / Softly. / If you stay / I’d be the one It’s strange but looking over it’s nice to see you’ve grown older / Will you be there when the nights get colder? / It’s a lovely thing to see / / Waiting for touchdown / I can’t ignore my fear / Dreams must disappear / Waiting for touchdown / Did you look? / Did you look? / Well don’t come here, no / I’ll be there.” Then we get a simple single guitar line ringing out loudly before the harmonizing starts up, one of the best features of Sneaky Feelings songs. The song teases, sort of builds without ever quite soaring to the heights it hints at, and that’s its main strength—to remain understated. Throwing Stones is also electric-jangly but with a solid backbone and a solid chorus: “The victim is this week’s friend / The person to be seen with / Never to be seen again / But you’re so cold-blooded / You hate with a passion / Nothing to do with anyone else / And the things which you say / Are not what’s happened / You hate with a passion / Nothing to do with anyone else.” The (sneaky) feelings in these songs are all mixed up with envy and jealousy, the petty stuff but aptly de-trivialized into something quite real and momentous.

Meanwhile the guitar parts drive on, a chugging jangle, keeping the tension high throughout the song, but when the rest of the band start harmonizing with Pine the song moves into a higher realm. “And the victim is this week’s friend.” Damn, this has such great melodic potency as well as an unpredictable feel. About Alan Bumstead Vinyl Reviews Alan Bumstead is a music fanatic who humbly adds confusion to the world with a string of album reviews written during real-time-listening in a stream-of-consciousness style, then edited for spelling, punctuation, flow and grammar. Apart from an additional introductory paragraph, the writing is improvised in time with the music. There is no re-writing. --------------------------------------------------------------------------------------------------- In his book Moving To Higher Ground Wynton Marsalis says, 'Because jazz musicians improvise under the pressure of time, what's inside comes out pure. It's like being pressed to answer a question before you have a chance to get your lie straight.

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The first thought is usually the truth.' I like to think that's what Alan Bumstead's all about.