really want to like Andy Votel.

I think Twisted Nerve is a fabulous record label that continues to release subtly beautiful music from acts that are all very unique. His work with Badly Drawn Boy featured great lo-fi production, while maintaining a wholly original style. It’s hard to think of Damon Gough’s earlier music without being reminded of Votel’s helping hand. And maybe even most important is his artwork and graphic design. Votel consistently makes artwork that is equally important to the music. With a cartoonish quality that always makes for good eye candy, Votel’s style captures his own take on pop art.

With All Ten Fingers, the music is most important though. It’s hard to argue with his taste in music because it is really impeccable. Krautrock, psychedelic, French pop and hip hop are all common staples of his DJing, as well as his remixing (which he has done some fantastic work on – Broadcast, BDB, Lamb, and even Texas). They are also elements to the music he creates as a solo artist. But, while normally I would be gushing for some hybrid of all of those musical styles, when Votel does it, I’m just not ga-ga.

Votel’s 2000 work, Styles of the Unexpected, was a teaser of a mini-album filled with some pretty uninspiring prog-hip hop. Though it was disappointing, it still gave TN fans a taste of what the other owner of Manchester’s coolest indie label could do with music.

All Ten Fingers is miles ahead of Styles. But that isn’t meant to be much of a compliment. It still lacks direction. What he delivers is an assortment of all of his beloved music, similar to compiling a mix album (which he has – Music To Watch Girls Cry By, and it’s a much better listen). His adoration for prog and Krautrock shows up most often, with the pinnacle moment (and a very big moment it is) being “Salted Tangerines”, a contribution by legendary Can vocalist Malcolm Mooney. Without a doubt, it is the best original thing Votel has recorded to date. It is an odd, Can-like composition that majestically guides Mooney’s freeform poetry. Unfortunately, there is nothing else like it on ATF.

Another collaboration works out nicely on the album, but not so much because of Votel’s participation. “The VIY”, featuring fellow Mancunian group Elbow, is a great slice of moody, psych-rock, yet it comes off sounding more like what Elbow’s new record might sound like. Votel hardly seems present.

Elsewhere, Votel noodles around with gadgets (“On Dogs!”), Django Reinhardt (“Gentle Man Thief”) and soundtracks (“Schallerova”). The hip hop he is known to love is strangely absent from this record, possibly leaving the door open for a full-on beat-happy record in the future. All Ten Fingers is certainly a “neat” record, but once the novelty wears off (and it does quickly), there isn’t anything left to keep you interested.