The Album Review Club - Week #195 (page 1310) - A New World Record - ELO

Black&White&BlueMoon Town said:
Ants From Up There - Black Country, New Road

I never felt the crumbs until you said
"This place is not for any man
Nor particles of bread"

I'm glad my review is actually after BH85's, because that's always a good reminder that it's getting late and I'd better weigh in on this, and a lot of what is noted is also how I feel about this album, and a few other good points on a couple lead singers.

I remembered "Basketball Shoes" from our May interlude, you know, the song that had nothing to do with sports or much less its title. That 12 minute plus song (which easily exceeded Rob's 9 minute limit mark) was just a preview for what this album would deliver, just even more of the same: quirky, painful, detached, yet spot on. And let me take a moment to also thank Rob for what was my favourite review of the album from a narrative point of view, even if we may not see eye to eye on this one. Had I know @mrbelfry better than I think I do now, this song would be a dead giveaway, and maybe I should have just listened to this whole album at the time to really have it properly narrowed down and hammered home, because as interesting as the lyrics are here in a strange way, I feel like I get to read honesty in a review weekly here in a similar fashion that I don't always understand, but never leaves me without thought afterwards.

The "Intro" here set us up perfectly for "Chaos Space Marine", which was enjoyable with all the instruments sounding off at a seemingly oddball kind of way, until you realize it's all part of the plan. Once the violins come in at around 1:20 in, I had a strong Arcade Fire feeling that really couldn't be denied. The "Concorde" was mentioned in at least 4 songs, including the one with the song title.

"Bread Song" is a standout, a slow burn that reminds me of something off of Radioheads' A Moon Shaped Pool period. I'm sure there's better comparisons, but that's all I got tonight, but it is undeniably haunting with the sticks and the slow guitar sounds that drives us through the story of distant love and pain and symbol of the breadcrumbs left in bed behind.

This is definitely an album that needs time, and I'm not sure that a week is going to be enough, because my feeling now isn't the same as it was after the first listen. The weak part of the album to me before it redeems itself with the final 3 songs is probably something I'd appreciate more over time, especially the complexity of "Haldern" musically.

I don't mind Isaac Wood's vocal delivery at all either. I didn't think too much about it until I read some reviews here. I wouldn't want it sounding different because there's a strong emotive presence and delivery that speaks to the feelings of the songs written.

I like the 3 closers after each other - 7, 9 and 12 minute numbers can deliver that well. "The Place Where He Inserted the Blade" musically is amazing and conveys real pain in trying to move on from emotional wounds, and there's that mention of the "Concorde" again and the group musical harmonization at the end again reminds me of a strong Arcade Fire song where everything builds up, but this one moves along slower.

"Snow Globes" is right up there as another powerful song, and you then realize there's that final real closer they still have up their sleeve to know this won't be it. I liked the loneliness theme in this with the title metaphor for being trapped in one's own world or circumstances. And sometimes that needs to be shaken to really make things happen. Did this need to be 9 minutes? Maybe not, but I will say that the music variation and strong percussion as the chorus refrain repeats until the end is pretty powerful.

I tried to tie this all together with the final song that mentions the Concorde again in the first line, but I struggled until I read one review that seemed to capture the album and Wood's "sudden" departure as this all makes sense, to the point of - I wonder if he didn't have this planned all along?

The whole album is a metaphor for his toxic relationship with his fans. The more fans he gains, the more expectations he must meet. Through his lyrics, he is leaving his breadcrumbs in our beds: we are the toxic lover. We are the Concorde.

Either way, I found this album very compelling and musically in the same vein of bands I enjoy and a challenging listen. While I'm not feeling what Wood is feeling, the effort and music that is along for the ride of the challenging lyrics is pretty varied and compelling. It's an appreciative 7.5/10 for me for the slow burn and feast of strong closures that each one up the previous track.
Click to expand...
I actually nominated Basketball Shoes as a n obnoxious joke because it is really long and not about sports. I was fully expecting to be told to pick another song but then it got a couple of good reviews which made me think this would be an album that might generate some fun. There is also a style of Nike trainer called Concord which adds to the mystery of the lyrics and themes

I'm glad you highlighted Haldern. That and Bread Song used to be album low lights for me but with repeated listens are becoming top tier. I think Haldern may have been improvised originally at a festival or something.

Apparently this whole album is a concept album so there may be some mileage in suggesting it is a break up with the fans.
 
Nice to see some love for this. A few things have been said about the album in recent reviews that resonate with what I felt. Arcade Fire was a good mantion (I went with Cloud Cult, potato potāto). What feels different between them though (its clarity and unmistakabke poppyness aside) is that those bands feel like they start with a song and add layers to it. Where as BC,NR feel like they start with the layers, and hope a song will emerge. I don't say that as a negative, just an observation, there is after all something admirable to that (if ever any truth to it), but it is inherently harder for an audience to digest.

Someone also mentioned Scott Hutch, which did occur to me, but hey I didn't want to be that guy! Similar level of an undertone, but a lot more coated/guarded rather than heart well out on sleeve. Arguably deeper and maybe more subtle, but then, a lot less relatable. Again, not that there is anything at all wrong with that, but makes it harder work for the listener.

Finally, Journo absolutely fucking nailed it for me. 'Too many instruments? No, not that, it's the lack of coherence..' this is it for me. I fucking love me a good old musical stramash. I do! But I struggled with this one, and it was in the delivery rather than the concept. As fun as the trying was, in fairness, and as Fog pointed out, an album that makes you work a bit is no bad thing.

As an aside, I have found a new appreciation for this album, having listened to their subsequent one. Which I absolutely hated! Now this one suddenly feels a lot better.
 
Coatigan said:
Nice to see some love for this. A few things have been said about the album in recent reviews that resonate with what I felt. Arcade Fire was a good mantion (I went with Cloud Cult, potato potāto). What feels different between them though (its clarity and unmistakabke poppyness aside) is that those bands feel like they start with a song and add layers to it. Where as BC,NR feel like they start with the layers, and hope a song will emerge. I don't say that as a negative, just an observation, there is after all something admirable to that (if ever any truth to it), but it is inherently harder for an audience to digest.

Someone also mentioned Scott Hutch, which did occur to me, but hey I didn't want to be that guy! Similar level of an undertone, but a lot more coated/guarded rather than heart well out on sleeve. Arguably deeper and maybe more subtle, but then, a lot less relatable. Again, not that there is anything at all wrong with that, but makes it harder work for the listener.

Finally, Journo absolutely fucking nailed it for me. 'Too many instruments? No, not that, it's the lack of coherence..' this is it for me. I fucking love me a good old musical stramash. I do! But I struggled with this one, and it was in the delivery rather than the concept. As fun as the trying was, in fairness, and as Fog pointed out, an album that makes you work a bit is no bad thing.

As an aside, I have found a new appreciation for this album, having listened to their subsequent one. Which I absolutely hated! Now this one suddenly feels a lot better.
Click to expand...
Their later album was a slow burn for me. The band talked about the great time they had with the super producer James Ford but I think the album is too polished for my tastes. The best BCNR stuff for me are when it feels like it might just self destruct in collapse in on itself and the new album is too controlled for that. This could of course not be a consequence of the producer but maybe a consequence of the songwriting changes. The move from one kind of singular voice of Isaac to a trio of singer/songwriters could also make it less of a cohesive experience. I had to convince myself for a while that I liked it before I actually began to like it. Socks is probably the worse song they have done though
 
mrbelfry said:
Their later album was a slow burn for me. The band talked about the great time they had with the super producer James Ford but I think the album is too polished for my tastes. The best BCNR stuff for me are when it feels like it might just self destruct in collapse in on itself and the new album is too controlled for that. This could of course not be a consequence of the producer but maybe a consequence of the songwriting changes. The move from one kind of singular voice of Isaac to a trio of singer/songwriters could also make it less of a cohesive experience. I had to convince myself for a while that I liked it before I actually began to like it. Socks is probably the worse song they have done though
Click to expand...

Agree. Ironically, the latest album 'fixes' all the little things that are 'wrong' that I had highlighted as a distraction on this album. And yet, I find the result worse, and find myself appreciating the chaos of this one more. That's on the production/polish side of it.

On the vocals, that's even more extreme. His weren't great, by conventional metrics. But they felt honest, and real. Hers, while more pleasant and clearly more capable, slave to bullshit nonchalance and are just outright irritating. It is actually a similar issue the vocalist of English Teacher had, but while she humbly shyed away from making that leap, this one feels like she deliberately pisses into gap from a self imposed pedestal.

One or two had noted the album at hand had an air of 'look how clever we are' to it. The new one almost has a 'look how stupid you are' attitude to it. It was only one listen and my reaction was based on that, but I really disliked it. Two horses was about the only song that felt it had a musical purpose rather than an academic one. I'm glad you went with the album you did.
 
Going for a bit of a ramble on this one so the tdlr is: Needs some clarinet but apart from that decent.

Ants From Up There

I think instead of fannying around with the compound time signature of Killer Queen, GCSE Music should have questions like 'Compare, and where appropriate contrast, the music of Neil Hannon and BCNR and what it tell us about generational change in the British Isles'. Fortunately for the average Year 11, I don't get to set the syllabus; but less fortunately for you I'll be coming back to that in a bit.

Anyway, I always think the litmus test of would be ‘literary’ song writers (big themes and little themes alike) is can you be arsed to stick around to work out what the hell they are actually on about? And if you do, is there enough substance to keep you coming back to reveal further details or perspectives on it? For me achieving this depends on a few factors but most crucially can you create music that not only provides an appropriate setting for the lyrics but do so in a way that the two interoperate effectively.

When people talk about Cohen as a literary songwriter, they ignore the single most important thing about him which is his brilliant grasp of mostly very simple but well matched and compelling melody. Nobody murders Hallelujah at karaoke or on record because they fancy having a crack at the 80 odd verses theoretically at their disposal, they do it because the marriage between the words and the stately melody is spot on. Initially Gil-Scott Heron drew you in almost exclusively on the back of rhythm before expanding his palate. In both cases they had an ability to be poetic within a musically meaningful foundation. BCNR take their own path to getting you to stick around, though they do nick a couple of Cohen and Scott-Heron’s techniques along the way.

The opener does put you in mind of some famous minimalists (on the subject of which I notice Max Richter is now flogging his own fragrance in conjunction with Comme Des Garcon, that’s him binned of my list of possible nominees) but it also sets up the motif for the album. Beyond its musical motif, Intro and the subsequent two tracks, at least in my head, establishes a new identify for the band/album which is that the onetime worlds wonkiest Klemzer band have now had an existential crisis and gone completely awry. Half of this imaginary band have left to return to the comforting embrasure of whirling wedding sets leaving the remnants to explore less weddingy themes of co-dependency and the lure of entanglement versus escape. After Intro and the relatively familiar sounding Chaos Sound Machine, they start to veer more off course from Concorde onwards. They still return to the original motif on occasion and retain the slightly lopsided rhythmic sensibility, but the direction of travel is to strip out the more generally manic tone in favour of a more specific melancholic version and while there is still humour to be found, it’s pretty dark. This is the comedown from the previous night’s nuptial celebrations, that was foreshadowed on the last track of the first album.

For me this evolution works very well and if the album slightly outstays it welcome, I think it still manages to broadly hold the attention. I say broadly because I’m a bit too old and tired to really get into the detail of whether nocturnal emissions and Charlie XCX are a meaningful statement about loathing parasocial relationships and what overlap may exist between those and real-life ones; but I can understand why other people with more energy than me might want to. Which, thank the Lord, brings me to my final point.

What the hell does any of this have to do with The Divine Comedy? Well, this album is described in some quarters as Chamber Pop and listening to it this week with a critical ear it struck me that if that is the case then it’s so very different from some earlier Chamber pop. Apart from the obvious orchestration differences and this pick feeling less baroque, the other big difference that struck me was the difference in general tone. Neil Hannon though also literary in his approach is in many ways the antithesis of Isaac Wood. Hannon has the breezy confidence of a writer who attended the same school as Wilde and Beckett before him. But more relevantly I think, and despite being brought up in The Troubles, he carries that sense that many gen Xers do of, if not optimism per se, then some form of resilience because they grew up at a time when there still seemed to be some foundational order and sanity to the world or at least enough to convince you that things could be fixed. Consequently, his music is outward looking, full of confident flourishes and, despite a critical eye, a certain melodic insouciance that suggests ultimately things will be ok.

In contrast BCNR feel like his messed-up Gen Z nephew. Twitchy with existential angst and veering more towards the highly introspective because looking outwards is frankly a bit too scary. A risk of an album with that type of focus is it becomes one mostly experienced inside your head which can restrict its appeal and longevity, especially to older people of ruddier complexion who might consider it self-absorbed. However, this is where the original motif, and the vestiges of that wonky but ultimately tender and communal Klemzer band identity, come to the rescue. They punctuate the increasing feeling of being almost permanently on edge and about to collapse inwards with little moments that take the overall sound out of itself and stops it becoming self-indulgent.

It’s got some way to go to be the height of song writing because it doesn’t deliver its truths in a concise enough way (cf. 'Love is not a victory march’ - the economy of which is stunning) but it's not a bad go for a bunch of young ‘uns.

Oh well, I’ve no idea what the f**k I’m on about either. I wish I’d had enough time to organise my thoughts more coherently but the fact it made me have some at all is a good thing.

The only thing I can say definitively is that it would benefit from some clarinet, primarily because almost everything would.

8/10
 
mrbelfry said:
I actually nominated Basketball Shoes as a n obnoxious joke because it is really long and not about sports. I was fully expecting to be told to pick another song but then it got a couple of good reviews which made me think this would be an album that might generate some fun. There is also a style of Nike trainer called Concord which adds to the mystery of the lyrics and themes
Click to expand...
All of the above comes back to my initial point - given all that you mention above, I should have known this song was YOU.

But the May 2025 me wasn't as clued in as I'd like to delude myself that the December me is. ;-)

mrbelfry said:
I'm glad you highlighted Haldern. That and Bread Song used to be album low lights for me but with repeated listens are becoming top tier. I think Haldern may have been improvised originally at a festival or something.
Click to expand...
"Bread Song" was the second single and from what I read while investigating further, appeared to be a big song that lured folks into hearing the whole album. I would have probably needed one of the final 3 or "Chaos Space Marine" to be led into this one on my own, or without this week's selection.

mrbelfry said:
Apparently this whole album is a concept album so there may be some mileage in suggesting it is a break up with the fans.
Click to expand...
I do believe that thought would get us off the runway. How we'd land is another matter, but I liked where that was going after trying to "put it all together" this week after just learning about the back-story of the Wood's departure. 4 days prior? That was a bit much for me not to try and make some sense into given what I was listening to.

I would add this too - I've listened to this much more than the 3 times too, but like @journolud, there is NO WAY I'd be playing this in the car on a family trip or while navigating traffic, just too bleak and all over the place for that. I had the advantage of moving onto a '85 or '86 playlist, The Gritterman, or a City win with lots of goals down to the wire around listening to this, which helped balance me out as much as that is possible. ;-)
 
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threespires said:
Going for a bit of a ramble on this one so the tdlr is: Needs some clarinet but apart from that decent.

Ants From Up There

I think instead of fannying around with the compound time signature of Killer Queen, GCSE Music should have questions like 'Compare, and where appropriate contrast, the music of Neil Hannon and BCNR and what it tell us about generational change in the British Isles'. Fortunately for the average Year 11, I don't get to set the syllabus; but less fortunately for you I'll be coming back to that in a bit.

Anyway, I always think the litmus test of would be ‘literary’ song writers (big themes and little themes alike) is can you be arsed to stick around to work out what the hell they are actually on about? And if you do, is there enough substance to keep you coming back to reveal further details or perspectives on it? For me achieving this depends on a few factors but most crucially can you create music that not only provides an appropriate setting for the lyrics but do so in a way that the two interoperate effectively.

When people talk about Cohen as a literary songwriter, they ignore the single most important thing about him which is his brilliant grasp of mostly very simple but well matched and compelling melody. Nobody murders Hallelujah at karaoke or on record because they fancy having a crack at the 80 odd verses theoretically at their disposal, they do it because the marriage between the words and the stately melody is spot on. Initially Gil-Scott Heron drew you in almost exclusively on the back of rhythm before expanding his palate. In both cases they had an ability to be poetic within a musically meaningful foundation. BCNR take their own path to getting you to stick around, though they do nick a couple of Cohen and Scott-Heron’s techniques along the way.

The opener does put you in mind of some famous minimalists (on the subject of which I notice Max Richter is now flogging his own fragrance in conjunction with Comme Des Garcon, that’s him binned of my list of possible nominees) but it also sets up the motif for the album. Beyond its musical motif, Intro and the subsequent two tracks, at least in my head, establishes a new identify for the band/album which is that the onetime worlds wonkiest Klemzer band have now had an existential crisis and gone completely awry. Half of this imaginary band have left to return to the comforting embrasure of whirling wedding sets leaving the remnants to explore less weddingy themes of co-dependency and the lure of entanglement versus escape. After Intro and the relatively familiar sounding Chaos Sound Machine, they start to veer more off course from Concorde onwards. They still return to the original motif on occasion and retain the slightly lopsided rhythmic sensibility, but the direction of travel is to strip out the more generally manic tone in favour of a more specific melancholic version and while there is still humour to be found, it’s pretty dark. This is the comedown from the previous night’s nuptial celebrations, that was foreshadowed on the last track of the first album.

For me this evolution works very well and if the album slightly outstays it welcome, I think it still manages to broadly hold the attention. I say broadly because I’m a bit too old and tired to really get into the detail of whether nocturnal emissions and Charlie XCX are a meaningful statement about loathing parasocial relationships and what overlap may exist between those and real-life ones; but I can understand why other people with more energy than me might want to. Which, thank the Lord, brings me to my final point.

What the hell does any of this have to do with The Divine Comedy? Well, this album is described in some quarters as Chamber Pop and listening to it this week with a critical ear it struck me that if that is the case then it’s so very different from some earlier Chamber pop. Apart from the obvious orchestration differences and this pick feeling less baroque, the other big difference that struck me was the difference in general tone. Neil Hannon though also literary in his approach is in many ways the antithesis of Isaac Wood. Hannon has the breezy confidence of a writer who attended the same school as Wilde and Beckett before him. But more relevantly I think, and despite being brought up in The Troubles, he carries that sense that many gen Xers do of, if not optimism per se, then some form of resilience because they grew up at a time when there still seemed to be some foundational order and sanity to the world or at least enough to convince you that things could be fixed. Consequently, his music is outward looking, full of confident flourishes and, despite a critical eye, a certain melodic insouciance that suggests ultimately things will be ok.

In contrast BCNR feel like his messed-up Gen Z nephew. Twitchy with existential angst and veering more towards the highly introspective because looking outwards is frankly a bit too scary. A risk of an album with that type of focus is it becomes one mostly experienced inside your head which can restrict its appeal and longevity, especially to older people of ruddier complexion who might consider it self-absorbed. However, this is where the original motif, and the vestiges of that wonky but ultimately tender and communal Klemzer band identity, come to the rescue. They punctuate the increasing feeling of being almost permanently on edge and about to collapse inwards with little moments that take the overall sound out of itself and stops it becoming self-indulgent.

It’s got some way to go to be the height of song writing because it doesn’t deliver its truths in a concise enough way (cf. 'Love is not a victory march’ - the economy of which is stunning) but it's not a bad go for a bunch of young ‘uns.

Oh well, I’ve no idea what the f**k I’m on about either. I wish I’d had enough time to organise my thoughts more coherently but the fact it made me have some at all is a good thing.

The only thing I can say definitively is that it would benefit from some clarinet, primarily because almost everything would.

8/10
Click to expand...
Review is longer than the album but with more clarinet. Decent
 
Black&White&BlueMoon Town said:
All of the above comes back to my initial point - given all that you mention above, I should have known this song was YOU.

But the May 2025 me wasn't as clued in as I'd like to delude myself that the December me is. ;-)


"Bread Song" was the second single and from what I read while investigating further, appeared to be a big song that lured folks into hearing the whole album. I would have probably needed one of the final 3 or "Chaos Space Marine" to be led into this one.


I do believe that thought would get us off the runway. How we'd land is another matter, but I liked where that was going after trying to "put it all together" this week after just learning about the back-story of the Wood's departure. 4 days prior? That was a bit much for me not to try and make some sense into given what I was listening to.

I would add this too - I've listened to this much more than the 3 times too, but like @journolud, there is NO WAY I'd be playing this in the car on a family trip or while navigating traffic, just too bleak for that. I had the advantage of moving onto a '85 or '86 playlist or a City win with lots of goals down to the wire around listening to this, which helped balance me out as much as that is possible. ;-)
Click to expand...
I suppose it is a bleak album lyrically but I find the rise and fall of it euphoric. I'm probably easy to manipulate though. My next pick will probably be much more straightforward and uplifting
 
threespires said:
Going for a bit of a ramble on this one so the tdlr is: Needs some clarinet but apart from that decent.

Ants From Up There

I think instead of fannying around with the compound time signature of Killer Queen, GCSE Music should have questions like 'Compare, and where appropriate contrast, the music of Neil Hannon and BCNR and what it tell us about generational change in the British Isles'. Fortunately for the average Year 11, I don't get to set the syllabus; but less fortunately for you I'll be coming back to that in a bit.

Anyway, I always think the litmus test of would be ‘literary’ song writers (big themes and little themes alike) is can you be arsed to stick around to work out what the hell they are actually on about? And if you do, is there enough substance to keep you coming back to reveal further details or perspectives on it? For me achieving this depends on a few factors but most crucially can you create music that not only provides an appropriate setting for the lyrics but do so in a way that the two interoperate effectively.

When people talk about Cohen as a literary songwriter, they ignore the single most important thing about him which is his brilliant grasp of mostly very simple but well matched and compelling melody. Nobody murders Hallelujah at karaoke or on record because they fancy having a crack at the 80 odd verses theoretically at their disposal, they do it because the marriage between the words and the stately melody is spot on. Initially Gil-Scott Heron drew you in almost exclusively on the back of rhythm before expanding his palate. In both cases they had an ability to be poetic within a musically meaningful foundation. BCNR take their own path to getting you to stick around, though they do nick a couple of Cohen and Scott-Heron’s techniques along the way.

The opener does put you in mind of some famous minimalists (on the subject of which I notice Max Richter is now flogging his own fragrance in conjunction with Comme Des Garcon, that’s him binned of my list of possible nominees) but it also sets up the motif for the album. Beyond its musical motif, Intro and the subsequent two tracks, at least in my head, establishes a new identify for the band/album which is that the onetime worlds wonkiest Klemzer band have now had an existential crisis and gone completely awry. Half of this imaginary band have left to return to the comforting embrasure of whirling wedding sets leaving the remnants to explore less weddingy themes of co-dependency and the lure of entanglement versus escape. After Intro and the relatively familiar sounding Chaos Sound Machine, they start to veer more off course from Concorde onwards. They still return to the original motif on occasion and retain the slightly lopsided rhythmic sensibility, but the direction of travel is to strip out the more generally manic tone in favour of a more specific melancholic version and while there is still humour to be found, it’s pretty dark. This is the comedown from the previous night’s nuptial celebrations, that was foreshadowed on the last track of the first album.

For me this evolution works very well and if the album slightly outstays it welcome, I think it still manages to broadly hold the attention. I say broadly because I’m a bit too old and tired to really get into the detail of whether nocturnal emissions and Charlie XCX are a meaningful statement about loathing parasocial relationships and what overlap may exist between those and real-life ones; but I can understand why other people with more energy than me might want to. Which, thank the Lord, brings me to my final point.

What the hell does any of this have to do with The Divine Comedy? Well, this album is described in some quarters as Chamber Pop and listening to it this week with a critical ear it struck me that if that is the case then it’s so very different from some earlier Chamber pop. Apart from the obvious orchestration differences and this pick feeling less baroque, the other big difference that struck me was the difference in general tone. Neil Hannon though also literary in his approach is in many ways the antithesis of Isaac Wood. Hannon has the breezy confidence of a writer who attended the same school as Wilde and Beckett before him. But more relevantly I think, and despite being brought up in The Troubles, he carries that sense that many gen Xers do of, if not optimism per se, then some form of resilience because they grew up at a time when there still seemed to be some foundational order and sanity to the world or at least enough to convince you that things could be fixed. Consequently, his music is outward looking, full of confident flourishes and, despite a critical eye, a certain melodic insouciance that suggests ultimately things will be ok.

In contrast BCNR feel like his messed-up Gen Z nephew. Twitchy with existential angst and veering more towards the highly introspective because looking outwards is frankly a bit too scary. A risk of an album with that type of focus is it becomes one mostly experienced inside your head which can restrict its appeal and longevity, especially to older people of ruddier complexion who might consider it self-absorbed. However, this is where the original motif, and the vestiges of that wonky but ultimately tender and communal Klemzer band identity, come to the rescue. They punctuate the increasing feeling of being almost permanently on edge and about to collapse inwards with little moments that take the overall sound out of itself and stops it becoming self-indulgent.

It’s got some way to go to be the height of song writing because it doesn’t deliver its truths in a concise enough way (cf. 'Love is not a victory march’ - the economy of which is stunning) but it's not a bad go for a bunch of young ‘uns.

Oh well, I’ve no idea what the f**k I’m on about either. I wish I’d had enough time to organise my thoughts more coherently but the fact it made me have some at all is a good thing.

The only thing I can say definitively is that it would benefit from some clarinet, primarily because almost everything would.

8/10
Click to expand...

When you used to work as a music teacher?
 
Another week, another brave selection, this time from @mrbelfry. Ants From Up There by Black Country, New Road meandered their way to 12 votes at an average of 5.83.

This week, we'll no doubt be joining @BimboBob in the 70s, with his dad in his living room (reserved only for best, of course).
 
RobMCFC said:
Turns out BimboBob has posted me his nomination and I've got to come up with the clues!

View attachment 176571
Click to expand...
according to google there is a band called Big Swede but I don't think it's that. I also don't think it's Armand Van Helden. Probably not Swedish House Mafia. There is a metal band called Pole Position. Could be Hooked on a Feeling by Blue Swede
 
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