Rafter Music For Total Chickens by: Tim Clare Tue:13-Mar-07 Label: Asthmatic Kitty Year: 2007 WB rating 69 out of 100

English historian and long time clergyman Thomas Fuller would have liked Rafter Roberts. Existing in 17th century Britain, Fuller was a pioneer in the religious field during a period of much maturity, growth and exploration, especially throughout Europe. Rafter, on the other hand, is no “pioneer”, however like his 17th Century counterpart, he delivers a message of love, humility and faith in a time of marginalisation of such ideals.

Fuller, son to a 16th Century canon, was renowned for his wit, calm and moderation, who grew from “a boy of pregnant wit” to “one of the most witty and prolific authors of the 17th Century”.  On Music For Total Chickens, Rafter’s similarities with the English cleric are not simply in the message that is delivered, but also the way in which he weaves his chosen message through an alternate form of communication. Rafter creates a mix of lush, sweeping pop with frenzied, fitful afterthoughts and lo-fi layers which are heaped upon his simple message of “Work hard and exercise you mind and body, you won’t be sorry”.

Rafter’s voice is candied and friendly, not dissimilar to the popular male solo artist from the Asthmatic Kitty stable. It’s on the first track ‘Encouragement’ where the album’s simple message is delivered alongside the angelic choir of voices that develops as the album progresses. The voices that make up this choir are plucked from the incestuous Asthmatic Kitty talent pile: Liz Janes, Bridgit Decook, Susanna Waiche, Chelsea Rose and Amber Coffman all make a vocal appearance on Music For Total Chickens and help contribute to the sweet side of Rafter’s sound. ‘Encouragement’ develops further (as much as a 1:24 song can) as the sweetness is besieged by a multitude of plinks and plunks (the label’s words not mine) to present the overall noisy but sweet package that is to follow throughout Music For Total Chickens.

Thomas Fuller was renowned for his thoughts on living life, and had he lived in this day and age, he would have filled his pockets with cash by going from town to town as a motivational speaker, sharing his good cheer and instruction.  Thoughts such as “Govern thy life and thoughts as if the whole world were to see the one, and read the other”, “All things are difficult before they are easy” and “Compliments cost nothing, yet many pay dear for them” were typical utterances for Fuller, and he released a book of moral aid during a time of war titled Good Thoughts in Bad Times. It’s this simplicity where the parallel is drawn with the subject in question.

The lyrical content of Music For Total Chickens is simple. On ‘Hope’ the call and response between Rafter’s inner voices urge him to “Hold your hopes up high” amidst a broken spirit and that we can all “Get back if you try”. ‘Tragedy’ advises that “It’s natural to get destroyed” and on ‘Inspiration’ Rafter’s wisdom stretches to “When you meet someone inspirational, it is wonderful”. Overall Rafter is positive and uplifting, like the wisdom from his 17th Century equivalent, as he helps the listener deal with hardship, gives advice for men, argues against needless, wasteful purchasing and dreams about a world without anger.

It’s not only the literary content on Music For Total Chickens that is plain and open, as throughout the eighteen tracks on the album, the one word titles identify the purpose and sound of the ensuing song. The instrumental ‘Kantankerous’ is exactly that, the 57 second ‘Interlude’ creates a beautiful link between ‘Unassailable’ (previously mentioned for it’s testament to the human character) and ‘Boy’ which is the longest song on the album at 4:03 and reveals Rafter as child who longs to be blanketed by the songs that keep him warm. That’s exactly what the song opens up to do as the almost  schizophrenic percussive beats subside to reveal a beautiful lush and floating string arrangement, in which the listener could lie wrapped for hours.

However the hours desired last only two minutes, and Rafter suddenly jolts back to his incessant and frantic noise. It’s like a stab through the heart and one of the major criticisms of the album. It’s obvious Rafter can make some wonderful dreamy and luscious sonic waves (see also ‘Hope’ and ‘Your War’), but these waves aren’t allowed time to develop, despite the album being eighteen tracks in duration. The average length of a touch over two minutes inhibits Rafter’s “songs” the ability to break into a coherent and united piece and the album is left at times as a clumsy mixture of noise. Cutting back the quantity and focusing on quality would allow this unity to develop and avoid his simple message from becoming banal and monotonous. 

It grows into a beautiful, enveloping album that uses percussive beats and idiosyncrasies to keep the listener interested, and is simple but effective in message. Just as Thomas Fuller was effective in portraying his message by using wit in a time devoid of humour, so too is Rafter effective in delivering his simple faithful message through his own mix of beautiful pop and plinks and plunks.