Dan Sartain

Dan Sartain

Before hearing Dan Sartain’s third album the single track I owned by the Alabama garage rocker was from NME’s 2005 Cool List compilation (which stands up well, I gotta say).

It’s a great little tune, with Talking Heads-y vocals over a warm slice of bass-driven new wave. Six years on, I realise I must have missed the party.

Was there an alter ego twin-splitting mishap? His doppelganger, the Sartain everyone else seems to be aware of, was also born of early ‘00s NME fads,

Dan Sartain except swapping poised postpunk for the guttural ruckus of The White Stripes,

The Black Keys and other definitive article monochrome nouns.

That clatterclanging blues-punk is here, distilled into 13 sub-two-minute songs, of which

‘Nam Vet’ is pure British grot’n’roll circa ’05 and half of the rest sounds like the Ramones.

Which, on balance, Dan Sartain is fine by me.

“I don’t think I’ll be successful this year because what I see as success has nothing to do with material shit. I want freedom; the freedom to do as I please and be left alone, finally.”

The ‘finally’ is telling, more than hinting at the struggles she goes through for her art, and the many voices that surround her in her day job.

“I think I’m working this hard so that maybe in ten years I’ll be left alone to just make the music I want to make at my own pace.

I think that’s very ambitious because no adult gets left to do what they want to do and my ultimate ambition is to do what I want to do, when I want to do it.”

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