For most non-rock/dance albums I review, I always try to play them once before doing the review, to give me a flavour of what the album's all about – with this one, I was slightly puzzled. The thought went through my head “how in god's name am I going to review something as varied, consistent and excellent as this – holy shit! - every track's different!!” - and went away. Eventually, with determination, I returned.....and this is the result.....
This Scottish band are based around a nucleus of Kat McDonald on vocals, Grant Tyrie on bass, keys, programms and backing vocals,with added guitarist and drummer – looks pretty normal, doesn't it!! Well, let's take the opener, “Karma” - first thing you hear is a gentle synth chord as suddenly this resonant, lightly echoed drum beats down as shimmering guitars and backdrop guitar textures plus deep bass enter at the same time as Kat's brooding, slightly phased lead vocal, and that topped by a light, airy and delicate second vocal line, as the song is intoned and sung, the contrast absolutely superb. Then, without warning, the vocal lifts off into a soaring chorus as the guitar flares, the bass drives and the cymbals crash, only then for it all to dive back to where it began as another menacing verse ensues set to that music undercurrent that's beefy and shines at the same time. Into another chorus and this is already turning into something very special as Kat's vocal just flows through it all. A brief instrumental dropdown heralds a twist in the arrangement as the vocal flies upwards on wings of grace accompanied by that guitar fire and the resounding rhythms, the voice duelling with itself as it all powers up and fades to its finale – and this is just track 1 of 11 – now you see why this could well turn into an epic rather than a review!!
So, we move on - “Therapy” is just gorgeous – a passionate higher register vocal lifts off as the shimmering guitar textures float underneath and it's all so graceful as lilting piano chords are added, almost ambient, but then this Floyd-like guitar lead enters at the same time as deliberately crunchy drumming and the song just takes off through glorious verses and multi-tracked choruses, taking you with it on what is one huge sounding, strong and utterly wondrous composition, sung to perfection, arranged and played superbly, expansive, light and full of feeling, almost like a collision between Tori Amos and Pink Floyd only better. “Beautiful” starts with pretty well just vocal that's really quite hypnotic as the verse unfolds, then the guitar quietly enters, then the drums beef it up, the guitar line twangs neatly and this mid-paced swing of a song has feel of AOR-meets-ballad to it, veering from eerily sentimental to solid passion with alternately sensitive and driving backings. The vocal is so from the heart and it's all so..well.... beautiful, actually – just a fantastic feel-good song with a sea of instrumental riches the more it goes on. “Losing You” is truly a ballad, only, in typical keeping of the band, they turn it into a languid, twisted jazzer of a ballad, with a smoky and delicate lead vocal, that wonderful resonant drum sound, those shimmering guitar chords and deep bass. Then, also as you're now beginning to realise, they change it slightly as twangy but extended guitar chords and what sounds like a distant organ texture come in to accompany the exquisitely rising vocal. A brief solar flare from the guitar lifts it all upwards but then it floats back down to its smoothly laid-back but strong verse, this time the song now more intense and dramatic, but never losing the swing and substance which makes it such a stunning arrangement, not to mention that ever flowing soaring vocal.
“Crossing Over” gives us a simialr feel only faster and this time the bass comes well up in the mix as the rest of it does what you'd expect and here we have something that's got real muscle yet shines in the guitar work and covers the sky with a lead vocal that covers the range of strength and feeling to remarkably successful degree. There's a bass hook, an anguish to the hushed strength of the singing, and that guitar swirl becomes a Gilmour-esque rocket ride as the song goes back and forth, a bit like a cross between the middle bit of Free's “Mr Big”, hints of Floyd's “One Of These Days” and female-fronted jazz – quality and then some!! “Happiest With You” starts as an acoustic ballad with great feeling to the singing, but also a sense of flow to the arrangement – nothing sweet or syrupy here – and continues in that vein. “I Could Fall” starts slowly then gets its jazzy-dubby rhythmic head on before it then turns into this towering epic of a track that's got pure Porcupine Tree-esque slide guitar to it, veering between the gently rolling verses and the high-flying guitar-driven choruses to stunning effect, as another gem of a song works its magic, arguably the finest so far of an album that's not had one poor second on it to this point, Kat's vocal ranging from sultry to soaring and back with such heartfelt passion, deceptive strength and gentle grace.
“Leaving You Behind” is more of a rocker, but even here, the vocal has an air of menace and snarl to it as the lurching rhythm section provide a rock solid backdrop, the guitar work both chiming rhythm guitar and aggressive riffing, the bass throb layering on top for added beef. “Another Day” is gentility turned into something substantial with a really expansive textural background of guitars and synths that are like some encroaching fogbank as the song flows slowly forward with wonderful lead vocals and heady multi-tracked harmonies, all topped off by more excellent Floyd/Tree-like guitar and the constant slow thrust of the rhythm section, ending gorgeously on just piano and airy vocals. “Transitional Man” adds to the riches so far by being actually a danceable number with driving rhythms, clipped guitars, insistent beats, urgent vocals and one incendiary mother of a guitar solo, possibly the most potentially commercially successful track on the album, and actually too short – I wanted more when it finished – but then that's the best indie-pop for you! The album ends with “Shadow” and what a way to end an album – this track truly is an epic – it's got a widescreen arrangement, instrumental hooks that really attach themselves to your memory, a sweeping ocean of multi-tracked, lead and harmony vocals, huge mid-paced rhythms with more drama, less pace and overall, a veritable anthem of a song.
So there you have it – and the review doesn't do it justice!!! Hear for yourself and see what I mean.....superb stuff!!