BETTIE SERVEERT - Private Suit
Palomine/Netherlands
Formed from the ashes of a short-lived, experimental band called De Artsen, the whimsically named Dutch quartet Bettie Serveert took their moniker from a tennis instructional manual (it translates as 'Bettie is serving'). They first came to the attention of indie-pop fans in the US with the 1993 release of their debut PALOMINE, on the independent Matador label. Featuring as always the astonishing, Velvet Underground-inspired guitar work of Peter Visser and confessional, brutually honest lyrics framed by the warm voice of Carol Van Dijk, PRIVATE SUIT is their first release without longtime drummer Berend Dubbe, who has been ably replaced by Reinier Veldman. According to their website, Dubbe departed because he thought that the band was stagnating, failing to take sufficient chances with their songwriting. While it's true that the Betties haven't changed their sound dramatically since they began recording together, there have been some changes and this release sees them continue. A string section is utilized on several tracks, Visser contributes organ, marimba and even some synthesizer throughout, Veldman occasionally uses synthetic drums and John Parish guests on dobro during the plaintive, melancholy 'Mariachi Souls'. Long gone are the Sebadoh covers and discordant guitar noise that marked their early releases; instead this disc is suffused with world-weariness, resignation and quiet melancholy. In spite of that, this is a beautiful record, a cycle of eleven songs that work together wonderfully, organically. Standout tracks include 'Unsound', 'Private Suit', 'Mariachi Souls' and 'Sower & Seeds'.
DAVE HOFFMAN (9)
So there's a new Bettie Serveert record. Didn't know? That's probably because it's not available in North America yet. No longer affiliated with Matador, the Betties have founded their own label and album number four (five, if you count last year's live set of Velvet Underground covers) is their first release. Not to worry, though, word has it that PRIVATE SUIT will be available domestically later this summer. Oh yeah, the record... From the opening track, 'Unsound', longtime Bettie's fans will notice something is different. Carol Van Dijk's voice is still unmistakable, but somehow, the whole affair seems more mature. The production is cleaner, the feel is moodier and even when Peter Visser steps forward to take a guitar lead, it sounds more refined. Yes, the inevitable has finally happened - Bettie Serveert has grown up. Anyone looking for Dino Jr-esque fuzz-squalls will have to go back to 'Lamprey', because they'll not be found here. Sure, Visser lets loose a little on the title track, but there's also strings, so they cancel each other out. So label politics and new sound notwithstanding, how's the album? Pretty good. Remaining intact are the charmingly askew Betties songwriting, which is arguably the most important trait. Still, for all its merits, it's hard not to throw on PALOMINE afterwards and reminisce about the days when they were still rough and tumble Tomboys.
FRANK YANG (7)
www.bettieserveert.com