The duo chart a new path together to produce one of the more optimistic pieces of work produced during lockdowns
Kill Me Again is almost industrial in places, but playfully so, and Over and Over harness a kind of mellow 1970s rock, where the dusky softness of Dougall’s voice takes the edges off Coxon’s spindly, lovely tone.
Sleepwalking brings in a scuzzy Spectoresque wall of sound, folding in luscious strings and lyrics about being “brought up to be disappointed”. It plays like a very particular kind of English kitchen sink drama, with its beautiful bass lines, and compelling saxophone that starts to resemble wheezy accordion.
Drowning conveys a wistful sadness, which brings to mind the peerless Broadcast in its strange and winding beauty, and Someone Up There is sonically swampy yet strident. All Along brings some medieval folk energy with Coxon’s use of the cittern, a folk lute, which engages brilliantly with Dougall’s use of synth, suggesting an interplay between older wisdom and more modern conceits.
Something like the piano-led Undine, and Alone and Free are loose, lovely compositions, with Coxon’s world-weary vocal complementing Dougall’s spectral singularity. Doo-wop abounds on album closer You’re All I Want to Know, it is charmingly old-fashioned in ways, so nourishing and deeply-felt, and by carving out a deft romanticism in a world that seeks to crush it, it couldn’t have come at a better time.
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