Strangeday's Please Intervene arrived at last
I've been listening to rock music for a very long time, and I've recently got used to bands who arrive fully formed, only to go rapidly downhill from their difficult first albums into obscurity. But a quick buck is made. I first saw Strangeday in 2002 and thought they had the ingredients of a great rock band from the off, but naturally had a lot to learn. This first proper album (after several increasingly accomplished demos) is the culmination of the first five years, and is an amazing achievement with limited resources. It is very easy to lose the focus of what might sound good live when it's put down on, er, tape? No, probably hard disk. There has been much thought put into the balance of the whole thing, loud and quiet, full on and strung out, melodic and head flattening: it never gets boring, and they always quit while they're ahead, which is the first lesson to learn really – leave them wanting more. There are razor sharp guitars, funky bass, laryngitis inducing vocals and rock solid drumming, but it fits together and makes a unique sound; smackface rock will do to describe it I suppose, although that doesnt cover the subtleties. They have the chemistry.
The opener, Hide, has the usual Strangeday ingredients – it rocks like a very rocky thing, but the first verse is melodic and jangly, almost with a hint of the Byrds, and second track Punchbowl is an interesting confection with grinding stop starts and a slow and pensive section. The production here and throughout is quite ambitious and pretty much carries it off. Many albums place the goods up front, but this one has more and better to come. Don't expect filler material.
Haunted House continues the frontal assault - no late night listening, this is aural pro-plus, people. A winding melody and truly hair raising laughter; not about a fairground ride, listener. But just when you think you're going to have to turn it down, we have Insight. This has been a growing thing, performed live since 2003, but it has now achieved a kind of stately poise and wistfulness where once it tended to drag a little. Anwar's ringing guitar tones and Toby's warm vocal make an excellent change of pace. Yes it is Paul singing with an impressive contribution on the 4th verse (had to check with the authorities).
Grace Abuse resumes hostilities and the wall of guitars here is truly Fooesque (sorry), with Anwar tearing off guitar licks deeper in the mix. Back off, on the other hand, the Angry Track, has large amounts of space - these guys know about dynamics, and there is a gorgeous change of pace at 2.35, dont ask me what the time signature is but It Works!
Fogpilot, I have to say, is the centrepiece. Admittedly not out and out rock, it nevertheless encompasses everything good about the band, judicious use of sound effects, tuneful and inventive bass (reminds me sometimes of Andy Fraser of Free), great, no make that Great drumming, and the guitars build to a climax, with keyboards making a symphonic conclusion. The voice is never overpowered, but carries it, and the lyrics are some of their best -'shadows shift fake landmarks everywhere' - isnt there a band name in there somewhere? (oh yes, sorry Cliff and the).
Beautiful (I'm planning a playlist of tracks with this name, wait for it) is another oldie which has found another dimension here - word to Tom on piano, the three simple chords at 0.38 are just magic... Anwar proves here that BVs can always enhance the overall sound if used intelligently.
Always You: this has been a favourite in this household since its debut, and is of course bass heaven. But this was where the throat problems really started. I've heard Benylin helps. There really is no let up, with a brief jazz funk workout before crashing to a halt. And boy do they know how to end a song. Not fade away as the song once said.
Not Wasted however is my least favourite - never been sure whether there is actually a song in there, but several stars for the shalala BVs - genius! It even shows signs at one point of developing into a sort of rock bossa nova, a true enigma.
At this point I was thinking, how to finish it off? Where to from here?
But of course I neednt have worried. Give it Some and Get Me Through are actually the high point. This is a masterstroke, and the reason why it is a complete album rather than a conglomeration of songs. The MC announces "Altogether Now" and frontal lobotomy ensues. Turn this up loud, not only does it "bring the funk" but rocks like the clappers, slipping into Get Me through before you have a chance to draw breath. This is a solid 24 carat hit, their most commercial song and a perfect closer.
The Kidsis grew up; I'm looking forward to the next one.
Strangeday can be found here
The opener, Hide, has the usual Strangeday ingredients – it rocks like a very rocky thing, but the first verse is melodic and jangly, almost with a hint of the Byrds, and second track Punchbowl is an interesting confection with grinding stop starts and a slow and pensive section. The production here and throughout is quite ambitious and pretty much carries it off. Many albums place the goods up front, but this one has more and better to come. Don't expect filler material.
Haunted House continues the frontal assault - no late night listening, this is aural pro-plus, people. A winding melody and truly hair raising laughter; not about a fairground ride, listener. But just when you think you're going to have to turn it down, we have Insight. This has been a growing thing, performed live since 2003, but it has now achieved a kind of stately poise and wistfulness where once it tended to drag a little. Anwar's ringing guitar tones and Toby's warm vocal make an excellent change of pace. Yes it is Paul singing with an impressive contribution on the 4th verse (had to check with the authorities).
Grace Abuse resumes hostilities and the wall of guitars here is truly Fooesque (sorry), with Anwar tearing off guitar licks deeper in the mix. Back off, on the other hand, the Angry Track, has large amounts of space - these guys know about dynamics, and there is a gorgeous change of pace at 2.35, dont ask me what the time signature is but It Works!
Fogpilot, I have to say, is the centrepiece. Admittedly not out and out rock, it nevertheless encompasses everything good about the band, judicious use of sound effects, tuneful and inventive bass (reminds me sometimes of Andy Fraser of Free), great, no make that Great drumming, and the guitars build to a climax, with keyboards making a symphonic conclusion. The voice is never overpowered, but carries it, and the lyrics are some of their best -'shadows shift fake landmarks everywhere' - isnt there a band name in there somewhere? (oh yes, sorry Cliff and the).
Beautiful (I'm planning a playlist of tracks with this name, wait for it) is another oldie which has found another dimension here - word to Tom on piano, the three simple chords at 0.38 are just magic... Anwar proves here that BVs can always enhance the overall sound if used intelligently.
Always You: this has been a favourite in this household since its debut, and is of course bass heaven. But this was where the throat problems really started. I've heard Benylin helps. There really is no let up, with a brief jazz funk workout before crashing to a halt. And boy do they know how to end a song. Not fade away as the song once said.
Not Wasted however is my least favourite - never been sure whether there is actually a song in there, but several stars for the shalala BVs - genius! It even shows signs at one point of developing into a sort of rock bossa nova, a true enigma.
At this point I was thinking, how to finish it off? Where to from here?
But of course I neednt have worried. Give it Some and Get Me Through are actually the high point. This is a masterstroke, and the reason why it is a complete album rather than a conglomeration of songs. The MC announces "Altogether Now" and frontal lobotomy ensues. Turn this up loud, not only does it "bring the funk" but rocks like the clappers, slipping into Get Me through before you have a chance to draw breath. This is a solid 24 carat hit, their most commercial song and a perfect closer.
The Kidsis grew up; I'm looking forward to the next one.
Strangeday can be found here
posted by John at 8:46 pm
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