Blaney – A new chapter

“It’s like writing a book – many people start it, but don’t finish it. We did it.” – Ed Blaney

You get a sense of a long-desired renaissance from Ed Blaney. The title of the new album from his band Blaney “The Severance”, the follow up to last year’s critically applauded “Urban Nature”, implies a change, a break from the past, and a positive future direction.

Is it a that difficult second album or is it something new entirely?

When asked about this Blaney is candid:

I think it was a bit of both, ‘ leaving it all behind, a cleansing of the mind is’ a line from The Severance. Indeed it is a total break away in many aspects, that was the whole idea and in the new songs you will hear and feel a sense of freedom, there’s a nice rawness, a complete coming together of the people involved. It was very spiritual for me and it worked a treat with the band. We all got and understood the concept of ‘ The Severance ‘. I have few regrets about my past musically but I felt it was time to escape from it.

Blaney is justifiably proud of the first album which garnered countless positive reviews. He found a new set of fans, and shocked a few people, with an album he describes as “a gathering of the ghosts” where a few past demons were exorcised and a strong platform for future endeavours was built.

Ed Head Shot

A proud son of Salford, Ed Blaney’s first musical venture, the band “Trigger Happy”, was co-opted into The Fall in 2001 and Ed’s own musical career was put on hold for a while. However, the last few years have seen successful duo collaborations with Smith, the rebirth of Trigger Happy, a number of other successful projects, and eventually last year the emergence of the Blaney band. Much of Ed’s time in the last few years has been taken up with the creation and management of the highly regarded Salford Musical Festival which is on hiatus this year as Ed concentrates on this new album.

Whilst Ric Gibbs remains on drums the band has seen a change since “Urban Nature”.

Blaney says “The last ‘ line up ‘ was kinda cobbled together as a “mates” thing just for the 12 or so gigs we did, it was a good thing for what it was but was never gonna be a permanent fixture as a band.”

The new bass player is Lian Pienaar, and on guitar and piano, is long time Blaney associate Sophie Labrey, best known as a drummer, previously with Girl Peculiar, Shuttleworth and Shoshin, she also played on “Urban Nature. Indeed Ric, Sophie and Ed had planned this “second phase” of the project before the release of “Urban Nature”.

“The Severance” was recorded in Berlin, where two of the band members are based, heading away from the constant distractions of Salford/Manchester and embracing the multicultural vibes and the creative attitude of the German capital were key elements in that choice. The idea of recording in Berlin came about after a few beers, Ed and Ric had a chat about it and Sophie was asked to look into it as a viable option. In the past Blaney has not always enjoyed recording in UK studios finding their corporate feel restricted creativity and did not allow band members to relax into the creation of the album

Blaney says ….” In Manchester band members have the option of going ‘ home ‘ when things were starting to happen creatively, being distracted by day to day things. Being right out there in Berlin, almost in a blind sense. really worked, considering probably 7-8 of the songs were written over there in the studio. I followed my instincts and all the signs were pointing to Berlin. I don’t think we could have landed on our feet the way we did in any other studio or city in the world, it was that good. Everything we had discussed came to be, the idea of going over with no instruments and just the title song of the album sounded like a great idea to us, crazy in some ways but also perfect. Tito who owns the studio is an incredible person to work with, we hit it off straight away over emails. He listened and understood exactly what we were looking for. The studio itself was an old 1950’s cinema previously, it had so much history I could feel and was a really brilliant space to be creative in. Having been there on 6-7 trips since February, the locals have got to know us and have took to us too, it was a really great experience indeed”.

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Those who enjoyed “Urban Nature” will love “The Severance”. As with the first album it’s a good mixture of swagger meets sensibility, but it is much more accessible, and those who think they know Ed Blaney and his music are in for a bit of a shock, albeit a pleasant one. In terms of subject matter there are both autobiographical and political elements. Reflection on growing up, how things have changed not necessarily for the good, society wise, learning from past mistakes in love, and at the same time, keeping a positive fresh approach. All of these spill out of the tunes with typical Blaney enthusiasm.

Self-belief, spirituality , escapism, new beginnings, realism, forgiveness and understanding are all key themes of the albums’ title track.

Ed says …”….in the track ‘ The Arrival ‘ which is a funny upbeat song, we basically stick up a nice two fingered salute to any doubters about my persona”.

Wandering around Eccles on my daily perambulation with the I Pod blasting out the new album I got a real buzz from the positive vibe bursting from the ten tracks on the album From the pulsing bass of “Happy Return” which builds a tension that releases with a punk chorus and kicks the album off with a statement of intent, this is joyous stuff.

The album captures not only the raw energy of those early Clash records,  but also the Manchester pop sensibility of 10cc, and the unbridled joy of 90s Madchester. Once in a while the Greater Manchester conurbation gets back to what it is good at, making perfect pop and rock music, and this is a perfect example of that long held tradition,

All of the tracks move on from the excellent benchmark set by “Urban Nature” but there are several absolute classics that stand out.  My favourite is “Blackpool” a glorious piece of writing and an indication of the potential of this band. The glam rock bounce of “Feel The Rain” and the soul-pop strut of “Bin Liner” are refreshing,  there’s a tendency these days to make pop music too complicated and too muso, those two tracks prove you don’t need to do that,  you can get down to the elements that make good music great, strip back, get back to basics, and deliver, that’s a winning formula. Title track “The Severance” sums up the thinking behind the album in a perfect pop/rock tune.

There are a couple of interesting variations in the mix with the dub reggae version of “Thinking Of You”, originally a garage rock tune on Urban Nature, which should have people making shapes in a live setting. “11007 days old” dials things down with a plaintive pastoral feel and a nice mid album relaxer before things build to an explosive conclusion. An emotional recollection of days past with memories of childhood. The delightful “Tessa” is pop magic, “The 11th Man” is an excellent driving rock song, and the sheer joy of closing track “The Arrival” spills out the speakers and sums up the positive nature of the album…….the only thing to have a word with Ed about his lack of appreciation of cricket!

The album will be launched at a gig at Posh Teckel Berlin on 23rd November.

A home town launch will follow at The Castle,  Oldham Street, Manchester on Thursday November 30th.

The album is released on Friday November 10th. (CD/Vinyl ). You can order it via http://www.Blaney.co or grab it at HMV,  Amazon and all other good record stores. I think you should it’s bloomin’ marvellous.

Blaney Gig

THE BAND MEMBERS

Ed Blaney
Ric Gibbs
Sophie Labrey
Lian Pienaar

LINKS

FACEBOOK

WEBSITE

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Somewhere between something and the other

So much music I get sent, and I get sent a lot, tends to be bland and cloned. It’s as if there’s a factory/laboratory somewhere in a nameless city/town/village (delete as applicable) where the “magic formula” that made Busted “successful” is applied to fifteen year olds to turn them into avatars of that inane indie guitar thang. The guitars all sound the same. the vocals all sound the same. the chords are inevitably major and all predictable. I guess there is a human capacity for some to mimic/imitate what they like and try and replicate it in the hope of some sort of career coming out of it. Some have the mystery element of being able to turn it into something new and interesting. Others are merely copyists and either pass it off as new or end up in tribute bands. Nothing to get too hung up about I guess but a reason why my radio shows tend to feature stuff, in the most part, that doesn’t sound like anything else, hopefully.

I’ve also been around long enough to realise that some things are cyclical and styles tend to come back so you may not have heard it before but I have.

There’s a lot about Havania Whaal that you will have heard in other bands but they have a knack of altering/subverting/enhancing what has gone before them. Which is why they get my attention.

Their Bandcamp bio says:

Havania Whaal is a three piece noise pop band from Portland, Oregon that formed in a musty basement during the cold winter months of 2012. Drawing inspiration from a large spectrum of artists like Joy Division, Sonic Youth and Cocteau Twins, Havania Whaal’s sound has been described as “stargaze pop” by two girls in Olympia.

They have a big sound for a three piece and in no small part the three voice attack and Noelle Magia’s full poly-rhythmic drum attack make up the major part of the wall of noise which emerges from their new one “Elaborate Minor Crisis”. Paul Billy Sobeich conjurs huge layers of shoegazey/sonic youth noise from his guitar, The trio is expanded on some tracks with effective additional violin tracks provided by Melody Wilbrecht.  Caroline Jackson holds it together with some pungent bass which locks seamlessly with Magia’s rhythms.

This is an album which explores several angles of the same overall sound, which feels like something like some other stuff you will have heard, but also manages to emerge in other directions into areas which you will not have heard before. It’s definitively American, it’s plain daft in places, “The Party” feels like a Thurston Moore laconic ramble through a Bongwater track with a no wave bad attitude nibbling at your ears. Other parts are plain shoe-gazey in a Cocteau’s stylee. Sometimes, on “Chambers” particularly, Sobeich channels Ian Curtis, which is slightly incongruous, and in particular said track heads in an early goth direction  before sounding like it has leaped, kicking and screaming, from the back entries of Northampton in the 1980s. “Spiral Out” is particularly memorable juxtaposing a poppy Liz F verse with a punky Coathangers chorus. Closer “Dylan McKay” is as relentless a closer as any band would sell their souls to Jools Holland for.

All in all it’s a damn good set of tunes. Click on the thing below to see how to get it.

Havania Whaal

Cowboys, Brollies and Krautpunk

There has been a lot of commentary about Manchester Music resting on its laurels recently. Supposedly bathing in some sort of fuzzy nostalgia as ongoing  bands from the late 70s and early 8os continue to plough a well known furrow, or their contemporaries reappear looking somewhat weathered due to inevitable catabasis but deliver more or less what they were doing 40 years ago. Or perhaps it is that new and emerging bands don’t quite cut it or tend to sound like what has gone before.  Maybe it’s a symptom of the predilection for tribute bands and promoters who know they can turn a fast buck with the latest iteration of musicians who have turned to copying rather than creating. However do not despair dear reader as beneath the veneer of that supposed nostalgia fest or perceived lack of forward momentum is a vibrant scene which demands but rarely gets a larger audience.  Two parts Salford and one part Manchester  (The) Sandells offer hope in a city that perhaps needs a kick up its musical fundament. Their album is called “Forwards!” and never was an album more aptly named.

Turn the clock back some seven years and venture into studio 2 at Salford City Radio on a Saturday afternoon and you will see a station manager pulling his hair out because I have crammed a live band into a very small room to record a radio session. The Sandells viz Johann Kloos (guitar) Tim Lyons (bass, vocals) and Brian Benson (heavily muffled drums) deliver a set of songs – with Dave Thom on guest keyboards. I was on a steep learning curve at the time and I thought I could record a four piece band with three microphones – foolish I know.  I just about managed to capture something and spent three or four days trying to craft something for broadcast that the band were happy with it. That band were and are (The) Sandells and at long last they have released an album which properly captures what I was attempting to record.

The music business is a fickle thing – Sandells recorded the album  a while back but matters conspired to delay the release until now. In that time Lyons has pursued the return of The Things with some success, Kloos has continued his remarkable solo career with a veritable deluge of albums and Benson has pursued his artistic endeavours. It was inevitable though at some point that the three of them would get back together to deliver this album, the quality of the music was obvious back in 2010 and has not lost any of its attraction in that extended period of delay. It needed to be heard.

The musical pedigree of the three protagonists is such that something new was going to emerge once they combined and began exploring what they could achieve. The result is described by the band as “Kraut-Punk” which to some degree reflects the content but also tends to underplay what is a remarkable distillation of various genres. Bensons’ polyrhythmic approach is at the heart of the successful delivery of remarkable music. Anchoring the pulse is Lyons enormous bass sound which serves as the punk end of the mix. His vocal dexterity is known of course from The Things and latterly the wonderful Harvey’s Rabbit and with The Sandells he reaches a new level of quality, especially lyrically,  taking a unique set of ideas into the rock idiom. Kloos is of course a master guitarist and great tune-smith and freed of the responsibilities of being the sole front man his delivery and execution are parless.

Two of the tunes from that aforementioned session make it onto the album – the hypnotic “No Way Out”,  and the exceptional “Cowboys Don’t Have Brollies” a title derived from an off hand remark from producer Joe Meek. Missing is the rather marvellous “Girl from Iphigenia” and perhaps the final track of the session “Glissando” finds itself somewhere in between closing tracks “Reach” and “NAC”.

At at time when so called “psychedelic” music is nothing more than watered down AOR copies of things that came out of Haight-Ashbury in the mid 60s how good it is to hear a band that deliver the essence of what that music should be about. Driven, intense and complex it sets an agenda for those who would wish to properly evoke the spirit of  what that music should be but adds that mid 70s punk drive which sets it apart and brings the unique element that hopeful audiophiles wait in anticipation for. I hesitate to bring Space-Rock into the conversation but there are elements of that beast of a genre in here as well but with a relative degree of restraint which means it does not descend into the pomposity that corner of the music world is want to engage in. Both more than all of that all of those elements and more have combined to create a fresh and exciting sound.

An album I have waited a long time for – well worth the wait and more than highly recommended.

The Sandells will be performing ‘Forwards!’ live at Gullivers, Oldham Street, Manchester on Saturday 29th July 2017 with support from Factory Acts and Shaking Chains. Doors open 7.30pm. Entry £5. I shall be there.

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Top Ten Albums of 2017, so far

Seems like everyone else is doing half year lists so I may as well have a go…..it helps to remind me when I’m totting these things up at the end of the year as well….there’s no one in the list from our record label as it’s taken as read that they are top notch anyway and it would be a tad self indulgent to include them so I’ll deal with them at the end of the year…anyhow as for the rest here they are  in no particular order

IGUANA LOVERS – SURFING CAOS

Strictly speaking this came out in 2016 but it’s only made its way over here recently from Buenos Aires. A sublime mixture of rock in a shoegaze kitchen. Scuzzy guitars, howling and gurgling synths and bubbling drums however add a space rock vibe. It’s relentless and fun filled and I would imagine quite exciting live.

THE BLACKEYED SUSANS – CLOSE YOUR EYES AND SEE

Delicious and lush music which hovers between country, blues, and rock. Snarski’s velvet voice is delightful,  the words observational and compelling. A band at their peak, delivering quality material.

TOTAL VICTORY – ENGLISH MARTYRS

A much anticipated  third album . They have a unique sound and they remain steadfast in their delivery of their music.  We were kept happy with an EP compilation last year but its been a long while since National Service. They are big in France but no so much in their own back yard which is bleedin’ typical of the scene in general around hereabouts. Dan Brookes vocals and words are as usual unique and outstanding and the band create mesmerising post-punk vistas.

DAVE GRANEY AND CLARE MOORE – LET’S GET TIGHT

This emerged as a series of singles over twelve months so it’s a bit hard to regard it as an album from 2017, but it is. A playful collection, a mixed bag of styles, with DG and CM exploring new angles and options. Dave’s observations on the music world and the wider world at large are always apposite and often give pause for thought.  They can do no wrong.

THE SEXUAL OBJECTS – MARSHMALLOW

Seems odd that a band this talented only manages an album release once every seven years. Anything with Davey Henderson’s name associated with if is guaranteed to be good and this is no exception.  A rich sound which matches Henderson’s unique vocal delivery with superior guitar music.

KING GIZZARD AND THE LIZARD WIZARD – FLYING MICROTONAL BANANA

Extremely difficult to keep up with these chaps who appear to be as prolific as Acid Mothers Temple with three albums so far this year, this being the first, and two more planned. The motorik repetition of Rattlesnake sets the tone and demonstrates a band that seem to be totally attuned and in sync. The important thing is that they continue to develop and explore.

SANDELLS – FORWARDS

Long delayed debut from the recently reformed trio. Self described as Kraut-Punk the sound is refreshingly unique driven by Brian Benson polyrhymic drums. Some of Tim Lyons best work lyrically and with the signature sound of Dr Johann Kloos’s hypnotic guitar this beats the so called psychedelic bands out there back into their Haight-Ashbury contrived miasma. Forwards is the correct title, it explores new territories and does not dwell in the past.

LUSTERLIT – LIST OF EQUIPMENT

OK i’m pushing my luck here as it’s really an EP but it’s so damn good I’m including it. Susan and Charlie exceed at writing and delivering exceptional tunes with a literary angle. It blew me away when Charlie sent it my way and it still provides intense listening pleasure never losing its power to please.

DANNY SHORT – FORM YOUR OPINION

He seems to be constantly busy with the Transmitters these days so It’s a wonder he has managed to find the time to record and release this album. A mix of powerful pop punkery interspersed with more languid pastoral pieces. Another Boltonian who deserves wider exposure of his considerable talent. Some fantastic tunes in this collection.

THE STEVENSON RANCH DAVIDIANS – AMERIKANA

Impressive stuff. In which I learned the difference between Psych and Psyche. Vignettes of American life merging an abstracted country sound nestling in a mesh of guitars and vocal washes – the best music defies genre conventions and this does that very well.

 

 

 

A Wing Dissolved In Light

I readily accept, and am cognizant, that “free” jazz, and improvised music in general, is not to everyone’s taste. “When does the tune start” is the clarion call from those of my colleagues and friends who are not pre-disposed to this particular form of aural delight. However. it has been a major part of my listening for many years and I often feel the need to proselytize in a, possibly, vain attempt to convert, at least, some hardy souls to the “dark side”. Put it this way there are scant few of my chums that “get” this music, and to some of them it is not even music.

Anyhow……

Anenome is the collective name for Peter Evans piccolo trumpet ; John Butcher tenor, soprano saxophones ; Frederic Blondy piano ; Clayton Thomas double bass, and Paul Lovens selected and unselected (sic) drums, and cymbal. They all got together at Tampere Jazz Happening, in Finland, on November 2nd, 2013 to create the music on the March release on NoBusiness Records called “A Wing Dissolved In Light”. The album comprises one long piece, Une Aile Dissoute Dans La Lumiere (the french translation of the title), which is split into two 25 minutes sections to cope with the limited edition vinyl format.

Writing about improvised music is often a challenge, the key problem being that it is difficult to capture the myriad occurrences five musicians, on top of their game, can create in a fifty minute session. Suffice to say it moves from manic, often guttural utterances from Evans and Butcher, via abstract but sometimes melodic melancholic piano interventions from Blondy and alien and ambient sounds from Thomas, and is all underpinned by restless percussive deconstruction from Lovens, who is the go-to percussionist for these sorts of experiences.

It has always fascinated me how musicians can achieve the mindset to be able create pieces like this. Technique is clearly an important issue but there must be a capacity to let go of all the training and descend into the maelstrom that emerges from the speakers.  It is always a positive thing for me when you can’t discern which instrument is creating which sound in this sort of environment. It is mostly impressionistic of course, there is no tangible hook or melody to latch onto and it moves organically through various phases over the 50 minute time frame. No doubt most of my friends will turn off after a few minutes but for me it grabs the attention for the full duration.

This is impossible to dissect for radio programming unless one had a long form show of around five hours to allow the breathing space to include the whole of  music like this Editing it down into a reasonable size for a shorter broadcast seems somewhat sacrilegious, so you don’t get to hear it on World of Jazz, you will just have to take my word for it, or indeed purchase it yourself , but there are only 500 copies so you’ll need to be quick.

A Wing Dissolved In Light

New York Stories

I’ve been reacquainting myself with the prose of Paul Auster recently.  Always an obsession, I even named one of my musical projects after him, he is one of a handful of authors I can definitively say has had a major influence on me. His initial work centered around New York City, and his rich and complex prose always conjured up detailed images of that metropolis in my head. I’ve still not managed to pluck up the courage to read his latest 700+ page opus “4321” mind you.

Coincidentally, other Brooklyn connections also emerged recently, firstly with Jesse “Cannonball” Statman.  When over here for a gig in Salford he revealed he had shared the same apartment complex as Auster. Jesse’s performance at the Eagle, Salford, on April 8th,  had broadly smiling  punters using the word genius as they left the gig room. He wasn’t to everyone’s taste but for the majority of the audience the admiration for his performance was huge, with some of the best praise I have heard for gigs we have promoted. I’m also pleased he is allowing us to release more of his material soon on German Shepherd records. His set was a whirling dervish of words and a completely unique guitar style,  unconventional and mesmerising. Some people have compared him Daniel Johnston, and I can see that, but Jesse works at a much faster pace and his use of language is more complex, and conjures up literary comparisons like Auster, Thomas Pynchon and Bill Burroughs.

Check out his sizeable catalogue of work at http://www.cannonballstatman.bandcamp.com/

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Cannonball Statman (Photograph courtesy of John Montague)

The other Brookyln connection is a duo called Lusterlit. And they have literary association also. With their songs created for Bushwick Book Club,  whose founder, Susan Hwang and contributor and producer, Charlie Nieland, have joined forces to perform as a new, literature-inspired duo. Both vocalists and multi-instrumentalists, Charlie and Susan alternate lead vocals and harmonies while supporting each other on guitar, bass, synth, traditional Korean drum and accordion.  Charlie sent me their most recent release “List of Equipment” a couple of days back and I was  utterly blown away by the quality and richness of their songs. Inspired by authors  Cormac McCarthy, Julia Child, John Wyndham, and Johnathon Lethem, the five songs on the EP are mature musical explorations which immediately stand out as superior quality material in the context of the other music that gets sent my way on daily basis. Both artists are clearly hugely talented  and their song-craft and production is exceptional, offering atmospheric, cinematic, aural journeys. Both soulful and sexy, this is an EP you can listen to on repeat and uncover multiple levels of delight from. The duo says there is a hint of Polly Jean and Melbourne Nick in what they do, I’d venture that this music is as exciting to me as the first time I heard “Countdown To Ecstasy” – it’s that damn good. I commend it to you without reservation.

 

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Charlie and Susan – Photo by Lisa Barnstone

 

The duo also released two previous albums last year as “solo” offerings but Charlie advises that material is also part of the current  Lusterlit live experience. Both are also excellent song collections and, as a whole, the three releases combined are a fantastic introduction to some great music.

LINKS

https://www.facebook.com/lusterlit/
https://twitter.com/lusterlitnyc
https://www.instagram.com/lusterlit/
https://lusterlit.bandcamp.com/
https://soundcloud.com/lusterlit

No Lampshades Sold Here

A new album from the utterly fabulous Monkeys in Love.

Joy abounds.

It’s called “Live In New Stoke Newington” and to quote the band “It’s a non-linear concept LP about gentrification and that sort of thing”. It comprises nine tracks in total, all of them corkers. It’s not a live album, to make things clear.

The twin vocal line up of Laura and Steve, as usual, are the focus of matters. It’s relentless, enjoyable “alternative pop”, crammed with hooks and ear-worms, no doubt influenced, in part, by the bands’ love of library music. The easy narrative style is backed by  rolling and tumbling rhythms and jangling guitars topped off by cheeky little synths. It feels like all those great tunes that came with pre-millennial TV adverts mixed with superior song craft.

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This is the Monkeys in Love sound growing into something new and reaching a maturity that was promised by their previous releases. The attention to detail and the honing of their music into quality product makes this their best work to date.

We kick off with the excellent “Infantalised Man” which puts a strong marker down for what is to follow, Laura pulls you in a with lovely melody, and Steve grabs you by the ears and shakes you around with his trademark  biting rap/rant vocalising.  “In Stoke Newington” is all 70s rhythms, think Norman Greenbaum backing Adam the Ants, fronted by The Carpenters, but fed through a blender to take it to a different time continuum

“Validate Me” is pure Monkeys, with Laura cracking up over the lyrics half way through, and sexy little synth arpeggiating in the background, with some beautifully placed drum drops. Pure pop heaven. “At New Vortex” is a tale of experiences in music/art venues which should be recognisable to those who have experienced the worst excesses of some performance spaces, a close neighbour, sonically, to Curved Airs seminal”Back Street Luv” the track is rich with lots of little musical tricks. Indifference and lack of wages is the bane of some of the best bands out there, this tune captures that sense of despair admirably.

The exceptional “Cocaine Radius” is the high point for me and feels like something from the 60s, dreamed up by Bert Bacharach, that would fit in with a hip road movie. Jack Kerouac, Hunter S. Thompson, or someone of that ilk, driving around L.A. in fancy car, with the Mamas and Papas singing in the back seat, in a glorious sunset, came to mind as I was listening. The perfect placement of Danielle’s flute and Steve and Laura’s  vocals is simply glorious. At their best Monkeys in Love make me smile, and their very best they bring tears of joy to my eyes. This is one of the latter. Steely Dan were nearly as good as this once.

“Bar Furniture Solutions” allows Eamonn’s full guitar sound to take the lead, lyrically clearly the influence of listening to hours of corporate advertising music have had some influence, with the rolling narrative taking you on a journey around eponymous subject matter, and yes you can make a tale about bar furniture interesting. They don’t sell lampshades in this particular emporium apparently. Only this band can do this and make it something special.

Things get more serious with the heavier sound of “How The Scene Was Blown” which is insistent and the one track on the album which takes a little longer to get into, but once you are there it works. The sumptuous “Stasi Broke The Hive Mind” is back to Bacharach country, easy on the ear, and gentle on the mind.

Matters conclude with “New Stoke Newington Has Been Transformed” clocking in at just under six minutes it’s a memorable epic piece which requires a lot of attention to absorb the detailed narrative. The thing that captivates me about this album is the use of the vocals as instrumentation. Yes the lyrics, and there are plenty of them, are important, but just as vital is the placement of the vocals as part of the overall musical palette.  With no overall discernible lead instrument they take on a unique, non-traditional role in a rock ‘n’ roll context, which could be compared with the use of voices in classical operatic works as both vehicles of the narrative but also part of the complex interplay of instruments.

2016 has proved to be a year of excellent music and this is one of the high points. There was one front runner for album of the year before this arrived. There are now two.

If you get it before the release date on 25th November you can get it at a reduced price with some goodies thrown in – go here

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Previous writing on this band can be found here and here and here