Oscar - Cut and Paste

When the Windows 95 operating system arrived, we first discovered the 'Cut and paste' function on the new Microsoft Office program. Well, to be technologically correct it was featured on the Mac Lisa Operating system in 1983 and previously it was Xerox, so it is one up for Apple Mac users. Interestingly enough, both 80s synth-pop and 90s Britpop appear to have been cut and pasted together in the name of Oscar Scheller of London. This brave young man, part Brandon Routh, part Philip Oakley, gathers a mosaic of influences wrapped up in a quirky box of tricks on 10-song Cut and Paste.

The fuzzy guitar chords, descending synth, over some quick-paced drums on the opener 'Sometimes', brings to mind Elastica. Then the main vocals and backing vocals kick in and you may think, Philip Oakley of The Human League, with his rich baritone voice has returned. It is bright, and cheerful looking to stay in your head. This holds true for later track; 'Feel It Too'.

A Moombahton style groove, carries 'Be Good' along with synth and guitar chops. plus dancehall echoes. Some early 90s dance tracks like St.Etiennes 'Only Love Can break Your Heart' comes to mind on hearing 'Good Things', which seems to catch the essence of those days, yet the chorus tends to have a Blur-ry melodic sway to it. There is a bubble gum electronica pop simplicity on 'Only Friend' featuring the smooth high-end vocals of Oscar's fellow Londoner; Marika Hackman. It also gives off a slightly chilly lingering with some effective offbeat synth skanks.

A tinny bass line laced with some vinyl crackle introduces fuzzy vocals on 'Breaking My Phone' starts off in a textbook Blur style britpop ditty, then moves into a heavy guitar driver - It's Elastica territory again. Oscar's idea to incorporate a love-breakup issue into the seemingly disposable gadgets age is quite apt, as it happens to us all. He says "I keep breaking my phone/after I've spoken to you"
A layered chorused guitar pattern intro on the bright yet melancholic 'Daffodil Days', sounds like a festival anthem in the making. Moody bass alongside a mellotron synth pattern on 'Fifteen', over a simple drum pattern and jangly guitars has a retrospective yet tear-shedding effect, ending in more vinyl crackling. Oscar's songwriting potency shines very evidently on 'Beautiful Words', with it's simplistic melody and harmony layering.

Finally, a light swinging hip hop groove on dreamer 'Gone Forever', melodically it floats around in a lullaby fashion, it almost becomes a mock high school last dance tune.

Cut and Paste is a truly risky record. Oscar has done well to think outside of the box compared to his current musical peers. The combination heard in this recording, of some great British songwriters and revived sounds, coupled with eccentric life viewpoint narratives, certainly pays off. Let's hope he gets to produce for others, as he is one to sit back and watch.