BEST OF 2015: 29. Peter Broderick – Colours Of The Night

It seems impossible that American multi-instrumentalist Peter Broderick can be only 28 years old. There are already more than a dozen albums that bear his name, either as sole creator or key collaborator, and his frequent tendency to flit between modern classical and singer-songwriter modes ensures that this is a not inconsiderable body of work. It was, perhaps, the emotional heft required for such an achievement that left Broderick with a stress-related illness a little less than three years ago. After some much-needed recuperation time back home in Oregon, he found himself on the receiving end of the peculiarly tempting offer of a ‘recording residency’ in Lucerne, a small town in Switzerland. Having charmed its residents during previous visits, the proposal was to record an album in collaboration with a group comprised of local musicians and produced by Timo Keller, a leading light in the Swiss hip-hop scene.

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The result is a genuine delight, serving to highlight Broderick’s emotive, intimate vocals whilst pushing his music in endearingly different directions. The low-level ambient noise and brushed drums on opener ‘Red Earth’ appear to establish the record as a fragile, simplistic beauty, only for ‘The Reconnection’ to swerve off in a completely contrary manner. Its quirkily jaunty pop sensibility is perhaps best captured during the second verse when the whole band join in on one line that couldn’t sound more like Talking Heads if it tried. It’s one of those alchemical moments that music throws up from time to time that makes me smile on every occasion that I hear it.

Despite this curious genre-hopping agenda, ‘Colours Of The Night’ is Broderick’s most complete and satisfying release to date. By putting his trust in other musicians and letting them influence how his writing came to life, he has delivered ten songs that are imbued with a natural, joyous hue that is rather at odds with the obsessively meticulous approach on his previous singer-songwriter work.

That’s not to say there aren’t some typically breath-taking moments within ‘Colours Of The Night’; ‘If I Sinned’ is awash with over thirty tracks of Broderick’s voice ebbing and flowing behind his main vocal, like somebody tickling your soul. A deliciously crisp take on Stina Nordenstam’s ‘Get On With Your Life’ is one of the record’s highpoints, alongside the enormous ‘Our Best’, which gradually ascends dizzyingly to a guitar solo that leaves glorious contrails across a majestic wall of sound.

There’s Afrobeat, vintage pop, country touches and even a touch of the great rock ballad across this quite remarkable record. A curious confluence of circumstances may have brought it into being, but it’s hard to see how even the most precise planning could have resulted in anything more powerful than ‘Colours Of The Night‘ can offer.

The Just Played Verdict: John Grant – ‘Pale Green Ghosts’

More than one nagging earworm that just won’t let go. Lyrics that provoke a genuine emotional reaction every time you hear them. A variety of styles deployed with unflinching belief in their impact. All of the above represent a small sample of the thoughts I’ve had about this remarkable album since I first heard it. ‘Pale Green Ghosts’ entered my world on January 1st and seemed a fitting palette cleanser for a year to come, but it had first demonstrated its power over me during John Grant’s performance at Swn Festival in Cardiff last October. Half a dozen new tracks were given a sparse rendering before a rapt audience in the beautiful Reardon Theatre.

JG PGG

On the several occasions I have seen Grant perform, he has always cut an awkward and intense figure onstage, but one with a brutal knack for self-deprecating connections with an audience. A select number of artists have a genuine pull of their own, a force that draws you in and lays siege to your soul. You root for them, smile at the sight of them, find yourself savouring every second of their songs, hanging on the last waves of reverb emanating from a final note before unleashing applause. In short, you spend ninety minutes grinning like a twat and never once wonder what the time is or consider how tired you are.

Grant is, for me at least, one of those artists and I approached ‘Pale Green Ghosts’ with a little trepidation, worried about the impact of my own expectations after the remarkable solo debut, ‘Queen Of Denmark’, which had proved to be my album of 2010. Having been teased publically via its title track, it was clear that this wouldn’t simply be more of the same. The bubbling six minutes of minimalist electronica and synth trumpets were a defiant way to follow up a record lauded for its Seventies-inspired singer-songwriter chops. Naturally, the always rational and considered internet community sprung into action and the album was written off in some corners before it had even had a chance to be illegally leaked for a little voyeuristic backlash porn. That uncertainty and unease which seems to have been prompted by the varied sounds of this release is easily allayed after a few listens and I now find myself, three months down the line, increasingly of the opinion that ‘Pale Green Ghosts’ is superior to that remarkable debut. A wildly different and yet reassuringly familiar beast, it possesses some truly wondrous lyrics and a sizeable portion of melody.

The lingering presence of lost love TC, who had more than his fair share of influence on the debut’s lyrical content, is noticeable across the album, although the mood seems rather more sour, not least on the gloriously venomous ‘Black Belt’. This track also neatly demonstrates the melding of his previous sound and the electronic music of which Grant has always been a fan. After some unexpectedly productive collaboration with Biggi Veira from electronic act Gus Gus, he was compelled to record the entire album in Veira’s native Iceland, despite having been planning to resume proceedings with Midlake back in Denton, Texas. It’s hard to imagine how a track like ‘Sensitive New Age Guy’ might have worked in such circumstances, having ended up sounding like a gloriously sardonic LCD Soundsystem.

When I wrote my sizeable justification for ‘Queen Of Denmark’ topping my 2010 list, I quoted the entire lyric to its title track as evidence of the quite stunning grasp of language Grant possesses and the way in which he can balance the rawest of emotions with the most knowing of smirks. It wouldn’t be difficult to pull a similar stunt in relation to this record and over recent weeks I have found myself unable to shake lyrics from several of the album’s highpoints. Most recently, and this will only serve to extend its run, it has been this measured but explosive chorus from ‘Vietnam’:

 

“Your silence is a weapon,

it’s like a nuclear bomb.

It’s like the Agent Orange

they used to use in Vietnam,

and it’s accompanied by an apathy

which is deafening to the ears.

You know it is complete and perfect

and you wield it without fear”

Add in the raw majesty of ‘I Hate This Town’, ‘Why Don’t You Love Me Anymore’ and ‘Glacier’ and you’ll feel like sobbing for him. Except you don’t. There is a strange euphoria at the heart of ‘Pale Green Ghosts’ which is intrinsically linked to Grant’s humility and humour. The wry and biting lyrical content is capable of rendering you occasionally speechless in delight at exactly what he’s just pulled off, and such a knack for communication and ruthless honesty resulted in him telling the crowd at a Hercules & Love Affair gig, where he was guesting last summer, that he is HIV positive. ‘Ernest Borgnine’ tackles this topic exactly as you might imagine he would: “Doc ain’t lookin’ at me, he says I got the disease. Now what did you expect, you spent your life on your knees.” Although this diagnosis has received column inches for pretty much all of the promotion of the album, it has a relatively small impact upon the songs. Indeed, it’s those two other initials which still seem more determined recipients of Grant’s venom.

The release of ‘Pale Green Ghosts’ has been accompanied by both a remix disc and an EP of stripped down piano versions of some of the material. Each has its own merits and I would imagine the simplified takes will likely appeal to those initially struggling with the shift in sound, but both serve to underline the quality of the songwriting on show here. Whether it’s the grandiose crescendo present on the EP version of ‘Glacier’ or the simple but effective way in which the ‘No Ceremony RMX’ of the album’s title track suddenly makes you realise just how gorgeously brooding those plastic horn stabs really are, the overriding sense is of being in possession of something truly special.

2013 has already shown itself to be a pretty impressive year for music and there’s a hell of a lot more to come, but it’s hard to imagine ‘Pale Green Ghosts’ doing anything other than growing in stature. In an age of shuffle, online streams and endless choice, this is a bold and innovative suite fully deserving of your sustained and repeated attention. Twelve weeks in and dozens of listens later, I’m just starting to realise what I think about this album. I am genuinely excited to see what its impact will be another twelve weeks or months down the line.

New Music Roundup – First Aid Kit, Simone Felice, Andrew Bird, And The Giraffe, Eric Chenaux

It’s a gorgeous, wintery Sunday where I am and, as I gaze out of the window, I find myself drawn to the gently lulling atmospherics of And The Giraffe. A new young band from Florida, they’re currently offering a six-track mini-album via Bandcamp for as much or as little as you wish to offer them. Here’s the rather lovely ‘Welshrats‘:

And here’s a rather charming video they’ve just released for album opener, ‘Underground Love‘:

Reveal Records, the label which emerged from the late, great Derby-based shop of the same name, continue to wow and impress with their roster, having nabbed the forthcoming solo effort from Simone Felice. Fans of both The Felice Brothers and the criminally overlooked The Duke and The King should look lively. These two tracks are fine primers for what is a really rather lovely album. Tom McRae fans might also want to click below. First up, ‘New York Times‘:

And, if that’s not enough, here’s a cracking acoustic rendering of ‘Hey Bobby Ray‘, the album’s opening track:

Andrew Bird returns in March with the album ‘Break It Yourself‘ on the ever-impressive Bella Union. ‘Eyeoneye‘ has ensured that the sense of expectation continues to build. I’ve not heard the whole thing yet but this is well worth four minutes of your time:

Constellation Records have been quietly going about their business for some time now, releasing beautiful pressings of Tindersticks albums for North America (as well as last year’s fabulous Claire Denis soundtracks box set) and many fine artists besides. Eric Chenaux first came to my attention via Rich who used to run the main floor of Tempest Records in Birmingham and now trades under the name Ignite Records in the Oasis market just across the road. My infrequent visits always resulted in me buying a reasonable pile of vinyl and, like any good indie retailer, he’d gamble that if he recommended me something else, I’d add it to the pile rather than substituting it for something else. Chenaux was one such recommendation and I remain very grateful for it. The promotional gumph describes it thus:

“the recording features only his playing and singing; no guest or supporting musicians, minimal overdubs, and a rigorous structure that alternates back and forth between longform lyrical vocal-based songs and shorter, cacophonously harmonious bowed-guitar instrumentals.” 

His new album, ‘Guitar & Voice‘, is out in March and you can sample a track from it – ‘Amazing Backgrounds‘ – below:

And finally, because I’ve been banging on about it all week on the @JustPlayed twitter page, First Aid Kit‘s album ‘The Lion’s Roar’ is the first stone cold classic of 2012. There’s not a weak track on it and there are several heart in mouth melodies to improve your week. Be sure to listen to both of these, beginning with the album’s title track:

And, to finish as perfectly as I can imagine right now, here’s a live performance of album highlight ‘Emmylou‘.

October Reviews – Wilco, Still Corners, Veronica Falls & Youth Lagoon

My, how time flies. Does the ‘I moved house two months ago’ line still cut it? No? Oh well, that’s all I’ve got. Today, I have arranged the ‘office’, set up the new computer and filed a large chunk of the previously mentioned (and previously unboxed and ignored) CDs.

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WILCO – The Whole Love’ (dBpm / ANTI)

Wilco

Having mellowed in recent years, this eighth studio outing represents something of a rebirth. Inhabiting a world somewhere between the emphatic organ-chug of prime Costello and the more delicate moments of ‘The White Album‘, classic hooks and sing-song choruses are prominent, with two exceptions. Album opener ‘Art Of Almost’ emerges from a squall of static into something urgent and convulsing, whilst the twelve-minute ‘One Sunday Morning’ is a lolling, meditative conclusion unlike anything the band has previously recorded. The ten tracks which lie between are effortless and nimble and Jeff Tweedy seems to be a lyricist no longer at war with himself. An excellent return.

A fine return and the noodling moments are most welcome. I was one of those who found ‘Wilco (The Album)’ a little light on excitement and normal service is very much resumed here. The art of the jangly American classic is still the main focus for Tweedy and his men and there’s a wonderful double vinyl pressing, with free CD, which I would recommend seeking out. If they’ve never meant anything to you previously, this won’t suddenly clear the mists, but I can’t imagine many fans being disappointed.

Continue reading “October Reviews – Wilco, Still Corners, Veronica Falls & Youth Lagoon”

August Reviews – Jonathan Wilson, Bombay Bicycle Club and Steve Mason & Dennis Bovell

It’s all picking up again now, after the dreaded summer lull. The beefy September releases are popping up and there’s plenty to like about August too. In addition to these, there’s the mighty fine debut from I Break Horses forthcoming on Bella Union and I can tell you now that both The Rapture and Laura Marling have fine albums on the way in September, Marling in particular having taken another massive leap between albums. Anyway, let’s do these three splendid releases, shall we?

JONATHAN WILSON – ‘Gentle Spirit’ (BELLA UNION)

Jonathon-Wilson-Gentle-Spirit

Warm, fuzzy and unashamedly long, this gloriously languid debut solo outing puffs into view seemingly all the way from the late Sixties, with little interest in breaking new ground. Wilson has learnt his craft impeccably, having previously played for Elvis Costello, Jenny Lewis and Jackson Browne amongst others, and ‘Gentle Spirit’ serves to unleash his own voice, even if it is a slightly stoned whisper. Recorded sporadically over a long period of time, and very audibly unhurried, the title and pace of the album suggest that we could all do with taking stock once in a while, hazy guitar lines lulling the listener into a state of serene bliss. ‘Can We Really Party Today?‘ aches beautifully over almost seven minutes, gently sashaying through the verses, before shifting down several gears for the sombre chorus.

While the lyrics may be a little platitudinous at times – "When it’s all said and done, we are just dust on the horizon" from ‘Natural Rhapsody’ – on occasion a little simplicity and sincerity is all we need. Recorded to analogue tape, the sound is warm and earthy, Wilson professing that he envisages it as a double album designed for vinyl. As he suggests on album closer ‘Valley Of The Silver Moon’, his music is out of step with current trends. All of which is not to say that ‘Gentle Spirit’ is diluted pastiche; everything here is gorgeously sung and this woozy, gently uplifting collection of songs is pretty close to perfect.

Continue reading “August Reviews – Jonathan Wilson, Bombay Bicycle Club and Steve Mason & Dennis Bovell”

20 from ‘11 so far – Part 2

I like lists. Even a brief browse of the site should make that pretty clear. Following on from numbers 20-11, which you can find here, read on for the second half of Just Played’s Top 20 albums from the first half of 2011.Where I’ve already reviewed the album in question there is a link through to it, and all albums have a listen link to Spotify and a buy link through to the marvellous Rise site, who’ll sort you out with the tunes pretty sharpish. Feel free to agree, mutter abuse or supply your own lists below. Right then…

10. Metronomy – ‘The English Riviera’ (BECAUSE MUSIC)

METRONOMYEssentially a very well constructed pop record, ‘The English Riviera’ is a suave and polished beast, blessed with hooks to die for and seductively nimble bass lines. Recent single ‘The Loop’ is an insidious electro-burst, lodging itself in your head for days on end, while ‘Everything Goes My Way’, with the gorgeous vocals of Roxanne Clifford, is a lazy summer smash in waiting. It’s only relatively recently that this has moved from being a pleasant little record I play when the sun shines to a favourite from the year so far. When you really listen to it, which is to say put down books, iWotsits and magazines and just concentrate, the really rather beautiful production hits you. Pick apart the bits of ‘She Wants’ on a decent pair of headphones and I suspect you’ll be suitably impressed. Oh, and the only thing this has in common with the band’s earlier incarnation is the band name on the sleeve. Be not afraid.

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9. The Low Anthem‘Smart Flesh’ (BELLA UNION)

Low Anthem SmartEveryone having caught up thanks to Bella Union picking up the initially self-released ‘Oh My God Charlie Darwin’ in 2009, there was a great deal of interest in this record and it’s hard to imagine anyone being disappointed. As almost every review mentioned, this was committed to tape in a disused pasta sauce factory but that fact is actually significant as some of the recordings on here are utterly breath-taking. The size of this alternative studio is discernible on a number of occasions, particularly on some of Ben Knox Miller’s haunting vocals which were recorded in umpteen different ways. Still veering between fragile, meditative reflections on the human condition and all out Dylan-cum-Waits rackets, this is the band’s defining moment thus far.

“The sound of ‘Smart Flesh’ is like nothing you’ve ever heard before. Listen carefully to ‘Golden Cattle’ and it’s quite clear that lead vocalist Ben Knox Miller’s affecting performance is being picked up from afar; emptiness never sounded so good. ‘Love And Altar’ has a similarly airy feel, the attention to detail in creating this distinctive, raw sound utterly staggering. Miller sounds as if his vocal is being left somewhere in the past, the other voices in the band harmonising beautifully around him. It’s impressive through speakers but a listen via headphones left me more than a little choked up.”

Read the full review

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8. Tom Williams & The Boat – ‘Too Slow’ (WIREBOAT RECORDINGS)

Tom Williams Too SlowFollowing on from a number of excellent EPs, this is a heart-warmingly splendid debut outing from one of Just Played’s favourite bands. A genuine music fan and somebody who has spent some years truly crafting his sound and maturing as an artist, the Tom Williams who fronts this tremendous band has a distinctive and charismatic yelp which drives these largely wonderful songs. While their folky origins still show through from time to time, things took a slightly darker and spikier turn on the debut, with lead single ‘Concentrate’ sounding heavier than it ever had before. Lyrically there’s plenty to get your teeth into, the lines “they don’t know my dad, he’s this town through and through. Old school, fifty-something balding racist, and so his mates are too,” are so splendidly evocative they’ve proved to be a popular search term for people finding my original review of the record. Ultimately, fans of narrative-driven indie will find much to love here but even if that’s not your bag, I’d urge you to have a listen to this really very impressive debut.

“‘See My Evil’, having previously been the lead track on an EP of the same name, makes an appearance near to the end of the record. It sounds just as shudderingly splendid as it did that first time: like a grubby Arcade Fire after a night in a dark room with a fine malt, headphones and a copy of Jeff Buckley’s ‘(Sketches For) My Sweetheart The Drunk’.”

Read the full review

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7. Alessi’s Ark‘Time Travel’ (BELLA UNION)

alessiA bewitching stage presence and an angelic vocal make Alessi’s Ark very easy to love and this album is yet another triumph for the good folks at Bella Union. Finely crafted folk is elevated towards greatness by the stunning voice of Alessi Laurent-Marke, which is utterly beautiful throughout. Openers ‘Kind Of Man’ and ‘Wire’ should be enough to have you sold but, failing that, skip to one particular song. ‘Maybe I Know’, an impressive retooling of the Lesley Gore pop stomper, tells the tale of a cheated upon partner realising that the gossip is all about her and will break your heart. With the aforementioned vocal talents of Alessi, it will have you on the verge of tears. It’s the standout moment on an album which rarely dips below excellent and the old school songwriting and airy, summery production will leave you utterly spellbound.

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6. Fleet Foxes – ‘Helplessness Blues’ (BELLA UNION)

Fleet FoxesAfter the somewhat unexpected love-fest which greeted their debut album, things seemed a little less gushing this time around, which is unfortunate as ‘Helplessness Blues’ is actually the superior release. Opener ‘Montezuma’ picks up from where we left off, all cascading harmonies and gently plucked folksy guitar, but don’t be foolish enough to subscribe to the hipster notion that this is an album of wet, hippy-dippy, breakfast-knitting nonsense – because it really isn’t. ‘Battery Kinzie’ is a gloriously plinky-plonky little number which sounds like something straight out of the late-Sixties/early-Seventies Elektra stable, while ‘Lorelai’ shuffles along beneath a wash of harmony, the musical equivalent of that warm, fuzzy feeling you get when you witness a particularly beautiful sunset. A logical follow-up to their self-titled debut then, and a fine, fine collection of songs.

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5. Elbow – ‘Build A Rocket Boys!’ (FICTION)

Elbow BuildHow do you follow up a record as utterly beguiling as ‘The Seldom Seen Kid’? Well, it would seem it can be done, on this evidence. Take the completely unnecessary ‘The Birds (Reprise)’ out of the equation and you’re left with ten delicately crafted tracks which, as I pointed out in my Clash review back in March, take in the best bits of their career to date. The pressure was off and the band could do pretty much whatever they wanted to…and they did. With Guy Garvey’s national treasure status pretty much assured and another stunning Glastonbury performance chalked up, it seems strange to say that I was faintly underwhelmed by ‘Build A Rocket Boys!’ at first. It’s a more subtle record than its predecessor, built around gently uplifting mantras and airy piano refrains. Recent singles ‘Open Arms’ and ‘Neat Little Rows’ both demonstrate the continued knack for meticulously measured epics but be sure to seek out ‘Lippy Kids’ and ‘The Night Will Always Win’, the latter balancing on a simple little piano line as Garvey croons “I miss your stupid face, I miss your bad advice.” Craig Potter’s sympathetic and spacious production remains a delight and however much other albums may be more exciting or more ground-breaking, I find myself returning again and again to this more than most.

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4. Kitty, Daisy & Lewis – ‘Smoking In Heaven’ (SUNDAY BEST)

KDLAfter a solid and well-received debut, these analogue purists with a knack for good old-fashioned rock and roll deliver a follow up which oozes class and continues to floor me on each successive spin. Sounding fifty years out of time and traversing genres without concern, it is unlike anything else you will hear this summer. And you really must hear it. Boldly commencing with the ska-infused ‘Tomorrow’, the album ranges from straight up rock and roll through raucous R’n’B and folksy swing. A band at ease with their sound, the utter joy at the heart of these songs is conveyed explicitly throughout, most notably on ‘Messing With My Life’ and ‘Don’t Make A Fool Out Of Me’. Forget the fact that Jools Holland probably loves this and console yourself with the fact that Mark Lamarr is also probably quite keen too. Although I’d generally advocate vinyl as the way to go for every single title in this list, ‘Smoking In Heaven’ is available as a superlative double wax pressing and it is truly the only way to properly hear this brilliant album.

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3. Gruff Rhys‘Hotel Shampoo’ (TURNSTILE)

Gruff Rhys HSThe top three are very hard to separate at the moment as they’re all pretty special. After the homespun charms of ‘Yr Atal Genhedlaeth’ and ‘Candylion’, Gruff Rhys has pulled out all the stops for his third solo outing. While those earlier albums were charming and intermittently ace, ‘Hotel Shampoo’ is as good as some of the Super Furries’ finest. Recent single ‘Honey All Over’ evokes his home band in their ‘Phantom Power’ pomp, while ‘Christopher Columbus’ forces a distorted ska sound through the electronic burbles of ‘Guerrilla’. The album hangs together well and although the singles form the opening salvo, things don’t flag towards the end. ‘Conservation Conversation’ squawks and honks away as only a song built around a repetitive phrase playing on the similarity of two words can, while ‘Softly Sophie’ deliberately wrong-foots you off the back of the playfully falsetto chorus. Only Gruff could pull off the potentially nauseating title “If We Were Words (We Would Rhyme)” and the track itself is a delight. In short, this isn’t just his best solo album, but also one of the best albums out there featuring Gruff full stop.

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2. Bill Callahan – ‘Apocalypse’ (DRAG CITY)

Bill Callahan ApocalypseCold Blooded Old Times’ was my first exposure to the majesty of Bill Callahan via the ‘High Fidelity’ soundtrack, back when he was still plying his trade as Smog. After an experiment with brackets, he finally opted to operate under his own name with 2007’s ‘Woke On A Whaleheart’. I returned to the fray with the luscious ‘Sometimes I Wish We Were An Eagle’ in 2009 and quickly sought out the majority of his back catalogue. While ‘A River Ain’t Too Much Love’ may well be my preferred Smog outing, the slightly less polished sounds of ‘Knock Knock’ and ‘Red Apple Falls’ also appealed and ‘Apocalypse’ is perhaps the closest of all of his ‘solo’ outings to the sound of his previous project. Opener ‘Drover’ sets the tone: low-key band performance, largely deadpan half-spoken, half-sung vocals, occasional bursts of feedback and anxious fiddle. It’s a spectacular way to start a record and all seven of the songs in this set are distinctive and memorable in their own way. Most immediately worthy of attention is the raw, lop-sided throb of ‘America!’ which has even been described by less self-conscious reviewers than I as “funky.” ‘One Fine Morning’ is a strung out, near-nine-minute finale which concludes with Callahan singing the album’s catalogue album in lulling tones. Which is, clearly, unutterably cool. But for the sheer magnificence of the album which tops this list, this would be an easy contender for album of the year and you certainly won’t regret the investment.

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1. Low ‘C’mon’ (SUB POP)

Low CmonI absolutely adore this album; I’m still playing it weekly and I can’t imagine ever tiring of it. The first time I played it, I fell in love and little has changed in the months since. Even if you think you know what Low do and find it hard to imagine ever rhapsodising so verbosely about any of their output, you really should put aside forty-five minutes to spend in the company of ‘C’Mon’. I’ve always quite liked them: their ‘Christmas’ EP regularly gets a dusting down come December and ‘Drums And Guns’ went down well enough but I had little else from their back catalogue and I wasn’t waiting with baited breath for this album’s arrival. Despite all of this, ‘C’Mon’ is my most played album of the year to date, by far. Alan Sparhawk’s keening vocal on opener and first single ‘Try To Sleep’ was all it took. The chiming and immersive backdrop feels soothing and luxurious and it is as welcome a tonic at the end of a long day as cup of tea and a chocolate digestive. The almost somnambulant pace of old is still present in part, but the delicate jangle, used so well on the aforementioned festive offering, is foregrounded here more so then ever before, and it is a triumph. Having tried loud (‘The Great Destroyer’) and electronic (‘Drums And Guns’), it’s been suggested that this is the band returning to what they do best and, frankly, I have no problem with that when it results in ten songs as imperious as these. ‘Especially Me’ and ‘Something’s Turning Over’ are further examples of  vocals balanced meticulously atop shimmering instrumentation, the former allowing Mimi Parker creep out from the, nevertheless beautiful, dueting role she takes on ‘You See Everything’ and ‘Done’. Several months ago, I told one purchaser of the album that if they didn’t like it, I’d give them their money back myself. They’ve not asked for any cash as yet and I don’t imagine you would either.

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2011OTR