Foals - Total Life Forever

First of all, the pre-release hype for “Total Life Forever” has been at fever pitch ever since “Spanish Sahara” made its way on to the internet and has rarely let up, save for a bit of unjust backlash when “This Orient” appeared. Fanboys have been eagerly waiting for proof that Foals are the new Radiohead, or some equally hyperbolic statement, whilst detractors have been queuing up to shoot the band down as arty, student, math-rock bollocks...or something as equally well-thought out and intelligent. If their debut “Antidotes” was something of a curveball to those expecting an album full of “Hummer”-esque indie disco hits, then this should be perfect for them. For those who wanted Foals to go all out and fully embrace their experimental side, then this should also be pretty much perfect. In other words, Foals have made the best follow-up they could have possibly made.

Forgive me for getting all oxymoronic, but the most noticeable thing on first listen is how chaotic and dense the new tracks sound, yet they’re mostly straightforward indie-rock songs and, dare I say, even a little poppy. The plaintive picking on album opener “Blue Blood” gives way to the kind of indie funk last seen on Friendly Fires’ debut album or Franz Ferdinand’s third, before evolving into a whirlwind of noise that first time round listen sounds messy, but repeat listens reveal that everything is in its right place (sorry, that’ll be the only Radiohead pun here). The funk strut carries on into “Miami”, which has ‘big hit’ branded on it. The title track and “Black Gold” continue in the same vein until we hit “Spanish Sahara”. Near-7 minute comeback tracks seem to be the vogue right now (see; The Horrors, Blood Red Shoes etc) so it shouldn’t have been too much of a surprise that Foals returned with one. What is a surprise is Yannis Philippakis’ vocals. Whereas on “Antidotes” he usually sounded like a yapping terrier with a fringe, Yannis now sounds a little more assured in his own voice and ability to sing. Alright, he’s not exactly Florence Welch when it comes to singing, but he does have a unique voice which comes into its own on “Spanish Sahara”. Accompanied only by a solitary guitar and a drumbeat that sounds a million miles away, the track gradually builds from these three elements to swirling alt. pop brilliance. One of the tracks of the year already, it’s obviously the standout and it’s clear to see why some fans were disappointed with the next track “This Orient”.

A great song on its own, but coming straight after “Spanish Sahara” didn’t really help. If anything, “This Orient” is a better example of the depth of the album than the previous track. Verging on FM rock, the song is perfectly layered with every instrument and voice complimenting each other. In fact, “This Orient” is probably Foals most pop moment yet. The first half of “Total Life Forever” is pop, in a roundabout way. Justin Bieber and The Jonas Brothers would kill for some of the hooks that Foals have crammed into the first six tracks, if they weren’t the spawn of Satan and whatnot. But after the instrumental interlude of “Fugue” segues into “After Glow” the band lets their experimental side run free. Sounding a little like “Born Slippy” at the start (at least it does to me) the latter becomes a tornado of tribal dumming, screeching guitars and typical Foals riffs. “Alabaster” and “2 Trees” are possibly the most downbeat Foals songs yet, with the latter being the best on the album after “Spanish Sahara”, but it has competition from “What Remains”, the album’s closer. With guitars alternately sounding like harps and drills, it might not reach the indie discos but it rounds of an album which gives further evidence that Foals truly are a special band.
FOR FANS OF: Radiohead, Bloc Party, These New Puritans,
ESSENTIAL: "Blue Blood", "Miami", "Spanish Sahara", "This Orient", "2 Trees", "What Remains"
9/10

LCD Soundsystem - This Is Happening

For those out of the loop, LCD Soundsystem are probably the most consistently great band of the last five years. Having garnered near universal acclaim with their first two albums "LCD Soundsystem" and "Sound Of Silver", as well as three Grammy nominations along the way, it’s fair to say they’re a pretty big deal. The brains behind it all and the only actual member is New York DJ, producer and co-founder of DFA Records, James Murphy, whose barely-even-singing singing voice has been the calling card of the band since their first single back in 2002. Having created what many to consider to be two of the best songs of the noughties (apologies for using that phrase) in “Someone Great” and “All My Friends”, expectations have been a little high for LCD’s third, and if Murphy is to be believed, final album.

Lead single “Drunk Girls” wasn’t well received by all LCD fans, although most saw it as a good, if slightly disposable, dancefloor filler in the vein of previous single “North American Scum”. But “Drunk Girls” with its pop sensibilities and instant raucous hook is a world away from the rest of “This Is Happening”. For one, it’s under five and a half minutes long and sounds nothing like Berlin-era David Bowie, whereas the other eight tracks do. Album opener “Dance Yrself Clean”, with its slow and steady build-up to the show-stopping drop, could well be the best thing Murphy has ever done and the quality doesn’t let up from there on in. “I Can Change” is a swirling, shimmering slice of modern disco that you’ll be whistling for the whole day after hearing it, whilst “Pow Pow” and “You Wanted A Hit” return to the dance-punk sound that Murphy and DFA Records helped to create. Despite the latter song’s hook of “We won’t be your babies anymore”, it lives up to its title by being the only other possible hit after “Drunk Girls”, despite being nine minutes long.
“All I Want” is such a pastiche of “Heroes” it’s almost a disappointment when a coke-addled Bowie fails to turn up halfway though. Almost. “Somebody’s Calling Me” continues in treading the line between pastiche and rip-off, by sounding like the illegitimate offspring of Iggy Pop’s “Nightclubbing”. Whilst with lesser artists you’d accuse of a lack of ideas or shamelessly rehashing the past, with LCD Soundsystem, it just sounds like an obvious homage to Murphy’s influences. If “This Is Happening” is definitely to be Murphy’s last album under the LCD name then there’s few better ways to sign off than album closer “Home”, a funky-yet-heartfelt future floor-filler that surely wasn’t intended as such. It’s the closest LCD Soundsystem has come to a conventional pop song over three albums.

“This Is Happening” isn’t full of pure dance-punk hits like “North American Scum” or “Daft Punk Is Playing At My House”, neither is it a collection of earnest, soulful laments such as the previously-mentioned “Someone Great” and “All My Friends” as some may have hoped. Instead its sound is somewhere in between; songs to make you move your hips and break your heart at the same time. They’ll be missed.
FOR FANS OF: Hot Chip, David Bowie, Iggy Pop, The Rapture, Simian Mobile Disco, Justice
ESSENTIAL: "Dance Yrself Clean", "Drunk Girls", "I Can Change", "All I Want, "Somebody's Calling Me", "Home"
9/10

01 Dance Yrself Clean by HitsvilleUK-1

NEU!
>>>TRACKS>>>17.06.09>>> Ash, Florence And The Machine, La Roux, Marina And The Diamonds, Jack Penate, Noisettes, Sam Bennett And The Sharp Knees, Gossip

Ash - Return Of White Rabbit
Rejoice! Arguably the finest singles band of recent times have returned. Having given up making albums to concentrate on a series of singles for the next year (although the best of the lot will be compiled into an album, which kinda defeats the point...), Ash have released this as a precursor to the A-Z singles run. Whilst the heavy bass and disco guitars may be surprising, the amount of pop hooks are as high as ever. Funky and catchy enough to make it a Proper Hit™, it gives a few hints that Ash have some surprises up their sleeves this year.
7

Florence & The Machine - Rabbit Heart (Raise It Up)
Probably the oddest title of any song released by a much-hyped pop star so far this year, but this doesn't stop it from being Flo's best single to date. Lyrically it's a postulation on how ruthless the music world can be (a bit dangerous for a fresh, new star who has yet to release her album I reckon), but musically it's far from the ponderouse and worrisome subject matter. A mix of angelic harp-plucking, powerhouse drums and piano that verges on house, with only a little bit of synth tucked in for good measure, it may not be in vouge a la La Roux's/Litte Boots' throwbacks, but it's all the better for it and with a chorus that needs to be shouted out should make Ms Welch very popular at the summer festivals. The pick of the b-sides is Jamie T's lo-fi, dancey & dubby 'Lionheart' mix giving the option of dancing 'til you drop if you don't like the folky feel of the original
8.5

La Roux - Bulletproof
The biggest and most successful of the three hyped music-press-darling poplets (including the aforementioned Florence and Little Boots) having spent a month in the No 2 spot in the charts with "In For The Kill", La Roux look like grabbing their first Number 1 with this. The duo have created a track so 1980s that it should come with free shoulder-pads/Rick Astely/mass unemployment (delete where appropriate). Awash with synthesisers and enough 808 drumbeats to make Kanye West envious, it's a messy contrast to Elly Jacksion's simple vocal melody. The sheer amount of keyboards and electronic noise may not be too appealing to those of advanced years, but it's too catchy to ignore.
8


Marina And The Diamonds - The Crown Jewels EP
A challenger appears! Whilst everyone else is getting concerned with La Florence And The Roux Boot Machine (or something along those lines) young Marina has come along and produced some fantastic pop. Combining the simple charm of Kate Nash with the kookiness of Kate Bush, but without having the name Kate, Marina should be the alternative popstar of choice. Highlight "I Am Not A Robot" is reminiscent of Regina Spektor in it's perky, unusual lyrics and a charming, homemade feel. Definitely one to watch/namedrop to feel "indie".
8

Jack Peñate - Be The One
Biggest suprises in music this year? Blur getting back together? The Horrors' amazing second album? Alex Turner's hair (seriously he needs it cutting. Now!)? It could very well be Jack Peñate's second album "Everything Is New". This, the first proper single before the album's release, starts with trumpet blasts usually heard at South American carnivals or Timbaland's latest musical atrocity, instantly a world away from the overly-chirpy ska-pop of Peñate's debut. Despite including a hipster's handbook of influences, from Philidelphia soul to Afrobeat, this is pure pop from start to finish, and all the better for it. It's a remarkable turnaround for indie's whipping boy (circa 2007) and shows he clearly has bigger things in his sights. It's even got a "Born To Run"-style breakdown in the middle, for Pete's sake! Continue with tunes like this, and Mr Peñate could enjoy reverence reaching the level of The Boss...
9

Noisettes - Never Forget You
It's amazing what an advert can do; relieve mid-programme tedium (those Cadbury's ads), make you want to chuck the remote through the TV (again, those Cadbury's ads) and even revive a band's career. First The Clash with those jean commercials aaages ago and now the Noisettes. Okay, it's a bit of a jump between the two in terms of importance and overall greatness, but were it not for "Don't Upset The Rythmn" soundtracking a car ad, then the Noisettes would have been consigned to the pop scrapheap quicker than you can say Danni Minogue. But they've come back with a suprisingly good album and this soulful gem of a single. A Motown-esque bassline 'n' beat along with a smooth croon from Shingai Shoniwa amake for a delightful pop tune, even before the chorus, which is catchy enough to rival Swine Flu, brings in the distorted guitars of their earlier work as well as lucious, lilting strings. They're already fairly big, but if this doesn't cement their place, I'll eat my straw hat.
8.5

Sam Bennett And The Sharp Knees - Hummingbird EP
Odd name, good pop. The unsigned indie-poppers from Nottingham combine the bubblyness of The Rumble Strips and Jack Peñate's debut with The Undertones knack for a good hook to great effect. A warning though; this isn't for any indier-than-thou hipster who's favourite band haven't played one gig, released an album and the only thing available by them is 5 seconds of noise on Pitchfork. Okay, OTT stereotype, but SB&TSK are poppy and don't seem to care. "Two Headed Girl" is a sure-fire future hit whilst the title track shows a softer acoustic side before bursting into pure happiness in pop form and ending with a pretty epic-sounding wall of guitars. In my opinion they're just a Jo Whiley play or two away from the big time.
7.5
[>>>Download a selection of Sam Bennett & The Sharp Knees tracks for free>>>]

Gossip - Heavy Cross
Completing this female-dominated edition of NEU! are Gossip. Remember them? Apparently their record company don't think you will, and have resorted to using uber-hit "Standing In The Way Of Control" on the promo advert for the new album, with a disclaimer saying "'...Control' appears on the previous album of the same name, not on new Gossip album "Music For Men"". It just smacks of desperation to me, but I digress. Basically "Heavy Cross" is Franz Ferdinand, with Beth Ditto's warbling on top. Nothing new, innovative, special. Okay, it's a pretty funky track Ditto is a good singer (and rather scary looking in the video) but there's a feeling that, having soundtracked so many parties thanks to Skins, they should be making awesome pop instead of mediocre retreads. As Beth says herself "it's already been done".
5

NEU!
>>>TRACKS>>>31.05.09>>>Little Boots, Kasabian, Jamie T, Alexis Blue, The Chapman Family

Little Boots - New In Town
Apologies for reiterating the most over-used cliché concerning new music this year, but let the electro-pop battles commence! For those not in the know/living under a particularly heavy rock, Little Boots is being grouped together with La Roux and Florence & The Machine as a "Holy Trinity" of modern, hyped, female electro-pop singers. All three are being weighed down by the expectation laid on them at the beginning of the year by critics eager for bright new stars to foist into the limelight. Anyways, "New In Town" is the lead single from LB's debut album "Hands" and has "CHOON!" written all over it. It's pretty clear to say that this will be getting repeat plays all over the country during Freshers Weeks in September, and they'll be deserved. The chorus "I'm gonna take you out tonight/I'm gonna make you feel alright" is simple yet genius at the same time and puts the former Victoria Hesketh out in front against her rivals. {Watch the video for "New In Town"}
8

Kasabian - Fire
The Leicester loudmouths comeback single is something of a slowburner (pun intended). Starting off sounding like a psychedelic jam, "Fire" soon bounces into a bluesy stomper of a chorus and possibly the easiest thing to sing along to at this summer's festivals that isn't "Ruby" or "Chelsea Dagger" ("I'm on fiiiiiiiiiiiiiiiiiiiiirrrrrrrrrrrrre!" is pretty much it). As always with Kasabian's lyrics, they don't exactly mean too much, but who really cares with a something this groovy (hippy-ness not intended). It's not even the best track on their third album "West Ryder Pauper Lunatic Asylum" but still possibly the best thing Kasabian have released. {Watch the video for "Fire"}
7.5

Jamie T - Sticks N' Stones
How Jamie T isn't as big as Arctic Monkeys will forever be a mystery to me. He's got all the lyrical wit and verve of Alex Turner, the musical eclecticism of The Clash and the likeability of Kaiser Chiefs (without actually sounding like them, which is a talent in itself). "Sticks N' Stones" is his first new material released since the fantastic debut album "Panic Prevention" and it jumps about in all the right places. For a middle-class white guy from Wimbledon, he can't half rap and can craft a tune better than almost any 'bonafide popstar' around. Once again, it'll be massive at the festivals and if it doesn't propel Mr T. (no, not that one) to a similar level as the aforementioned Kaisers then I'll eat my straw hat. {Watch the video for "Sticks N' Stones}
10

Alexis Blue - Tarred & Feathered
AB have returned! Any new material from them is a cause for celebration, and "Tarred & Feathered" is no different. No massive deviation from the typical AB formula, but if it ain't broke, then it doesn't need fixing. "Tarred & Feathered" sounds more focused, tighter than anything AB have produced previously and, like Jamie T up there, they should been rising faster than mercury but for some baffling reason, they remain virtually unknown. So go download their debut album (it's free) or other demos or get down to a gig. You won't regret it. {Download "Tarred & Feathered"} {Download AB's debut album for free}
7.5

The Chapman Family - Kids
I haven't got a clue whose idea it was to stick The Chapman Family on the bill of the NME Radar tour below Magistrates, Heartbreak and La Roux, but whoever it was has a wicked sense of humour. Imagine a bunch of Radio 1-obsessed kids running to the front of the venue to see La Roux and all her electro tricks and being hit with the wall of distortion and anger that the Chapmans make. Hilarious, in my mind anyway. Back on topic, "Kids" is the first single from Teeside's finest and has an unfortunately similar chorus to Maximo Park's "The Kids Are Sick Again". But, this is a world away from the slick indie-pop of Maximo. This is proper "turn-it-up-loud-and-piss-off-your-parents/neighbours" angry rock that has been missing from British music for a long while (I don't count Gallows). "Kids" should be the anthem for all pissed and pissed-off teens across the country and for those in the know, it certainly is. {Watch the video for "Kids"}
9

'POINTING THE WAY FORWARD
>>>Delphic>>>Counterpoint>>>
The Killers can piss off back to their Las Vegas drawing board. Franz Ferdinand will have to chuck away their newly bought Casios. The new New Order are finally here. And, somewhat unsuprisingly, they're also from Manchester. In their own words Delphic "are the future sound of Manchester mixing euphoric electronica with anthemic songs for a post dance world". Clearly they've defintiely got the typical Manc confidence and swagger which is unusual, as most electronica/dance bands are seen as either uber-nerds or hyperactive students dressed in fluorescent colours, not confident masters of euphoric pop. "Counterpoint", their debut single, is a surefire hit, if not in the charts then definitely in the 'underground'. The swirling keyboards and frantic drumming mixed with James Cook's impassioned vocals make sure the song lives up to it's billing as "anthemic" by the band. The combination of dance and pop hooks makes it easy to envisage "Counterpoint" in a club, at a gig, at a festival, even in an arena or a stadium, which is certainly not a bad thing at all.
FOR FANS OF: New Order, Bloc Party, Friendly Fires
9

A REFRESHING CHANGE

>>>Passion Pit>>>Chunk Of Change EP + The Reeling>>>
There are some bands that prove simple to pigeonhole. For instance, The Futureheads are simple indie-rock, Bon Iver is folk and The Pigeon Detectives are bollocks. But there are the bands that are almost impossible to categorise, such as Late Of The Pier, Foals, Grammatics, Test Icicles. Obviously you can sweep them all under the all encompassing carpets of "indie" and "alternative" (as I'm kinda forced to do when tagging these posts) but doing that plainly ignores the other elements those bands have and strive to put into their music and make them stand out. The latest band to join "the uncategorised" is Passion Pit. Hailing from Massachusetts, Passion Pit throw bits of pop, dance, soul, indie and even a little emo (the chorus to "I've Got Your Number - "Can't you see me crying?/Tears like diamonds" is irresistible and wholly emo at the same time) into their musical melting pot and this approach has seen them tipped as a big name for 2009.

Their pop is the opposite of the bland, interchangeable pap peddled by Cowell & co, you won't find it in Tescos for a fiver. Their dance is the opposite to the stuff clogging up the charts, making you think "What is this? This is rubbish! We should be listening to firm young melodies, kicking tunes, thumping bass!" and then hopefully "God I sound so stupid!". "Chunk Of Change" is the next logical step on from LCD Soundsystem's hipsterness, Metronomy's joy-to-despair lyrics and Friendly Fires pure-pop-through-dance formula. Standout track "Smile Upon Me" even steals it's chorus melody from LCD's "All My Friends". The EP may be a little challenging to listen to with its 8 tracks reaching almost 45 minutes, but is definitely worth a full listen if only to get to future classic "Sleepyhead". This one track is probably the best example of pop in 2009; an electronic wall of sound mixed with a million and one hooks and just a feeling of utter joy. If that makes any sense. It's happy, it's danceable and it should be everywhere this year.

Passion Pit's lead single "The Reeling", taken from their debut album "Manners", doesn't quite match up to the tracks on "Chunk Of Change" but that would be a difficult task to follow for any band. Instead we get a faintly 80's sounding surefire hit. Big beats, a simple melody and all manner of keyboard whirrings should propel this to the charts, but knowing the British music-buying/downloading public, it will probably reach about Number 112.

ESSENTIAL TRACKS: "I've Got Your Number", "Smile Upon Me", "Cuddle Fuddle", "Sleepyhead", "The Reeling"
FOR FANS OF: LCD Soundsystem, Friendly Fires, Hot Chip, Metronomy
Chunk Of Change - 9
The Reeling - 8

LEARNING THE LINGO
THE LOVE LANGUAGE - THE LOVE LANGUAGE

Okay, so it's still just about winter. It's snowing and the wind is as bitter as a Liverpool fan on Thursday morning. There's a recession going on. Things aren't looking too brilliant at the minute (unless you're an Evertonian). But there is one certified antidote to any seasonal blues in the form of Wilmington band The Love Language. Just under 30 minutes long, it packs enough joy and sprit into its nine songs to eradicate even the worst winter woes.

Quite a few comparisons have been made about TLL already. "Deerhunter & White Rabbits listening to lots of the Phil Spector Christmas album and soul." "The Beatles....Stevie Wonder.....Thin Lizzy". Whilst these may be a bit wide of the mark, TLL are a great lo-fi indie-pop band with a whole lotta soul. There's a few similarities with Cold War Kids and Wild Beasts (just without the falsetto and weirdness), but the band are definitely on their own in the current musical climate. Such is the quality of the songs on the album that if TLL were on "Tips for 2009" lists then they would certainly top a chart or two.

The album deserves repeat listenings, if only for pop gems such as the infectious "Sparxxx" and lilting "Nocturne". Album opener "Two Rabbits" is the kind of song that makes you want to spend a night sitting in front of a roaring fire, doing absolutely nothing and loving it. "Lalita" is a highlight of the album and already a contender for pop song of the year. The album may be short (with only one song going over 4 minutes), but it's definitely sweet and however much you spend buying it will be money well spent.
ESSENTIAL TRACKS: The whole album
FOR FANS OF: Wild Beasts, Cold War Kids, Guillemots, Jens Lekman
9

METRONOMY - NIGHTS OUT
Okay, this review is 121 days since the albums release, and almost a year since promo copies were sent out to journalists (not that I'm actually a journalist or anything...), but I've only really discovered the pleasures of Metronomy...that sounds a little weird to be honest. They look like a geekier version of The Wombats (in my opinion) and you'd never expect them to make tunes so full of funk and soul that I actually want to dance just thinking about it, even if that is a little strange. "Nights Out" is, in the words of Metro-mastermind Joseph Mount, "a half-arsed concept album about going out and having a crap time". The "half-arsed concept" certainly comes through, but if this album was played on that particular night out, it's hard to imagine how a crap time could be had.

Starting off with an instrumental double of "Nights Out Intro" and "The End Of You Too", 'Nomy (I'm lazy so that's their new nickname from now on) set out their stall as the usurpers of Hot Chip's indie-dance crown. The former is a sort of homage to Ennio Morricone, ominous electronic parps and a guitar line reminiscent of something out of a spaghetti western. You can imagine robot cowboys of the future getting ready to duel with this in the background. Anyway back on topic, the album starts to gather pace once we arrive at "Radio Ladio", a dance-pop gem, even though the verses appear to be being sung by an old man in a mac, if you catch my drift. A swirl of duelling keyboards and a damn catchy chorus later, you'll be dancing. No other way about it. The hits just keep coming from then on. A falsetto worthy of Muse and Foals-esque guitars on the euphoric "My Heart Rate Rapid", the funky electro riffs of "On The Motorway" and "Holiday" is a melancholy dance masterclass.

But where the 'Nomy excel is on single "Heartbreaker". The general gist of the track is Guy #1's best mate is sick of Girl #1 treating Guy #1 badly and breaking his heart over and over again. May not sound much, but it's the highlight of the album, and probably one of the best tracks of last year (however did I miss it?). An irresistible bassline and a chorus you'll be whistling for weeks on end, along with a certain quality that makes it very believable for some reason raise the bar for the rest of the tracks and whilst they may not hit the height, they come very close to it. More of the same for album number three lads. I'll get it when it comes out this time too.
ESSENTIAL TRACKS: "Heartbreaker", "Radio Ladio", "My Heart Rate Rapid", "Back On The Motorway", "Holiday",

9/10

MORRISSEY - YEARS OF REFUSAL
Well I've calmed down from my initial dancing around the room at finding this and I'm ready to review. The Mozfather has returned with his highly anticipated (by me at least) 9th solo album. The sleeve is extremely puzzling but we'll move past that. There's been a Moz revival of late thanks to two outstanding albums in the shape of "You Are The Quarry" and "Ringleader Of The Tormentors", the former a confident, biting modern rock classic and the latter a moody, Rome-influenced ode to the wonders of love in Morrissey's inimitable style. And on "YOR" the two styles are combined for Morrissey's most interesting album since.... well "Ringleaders" to be honest

"Something Is Squeezing My Skull" is a pounding rockabilly opener that changes mood, lyrically, as much as Tottenham change their manager. And a middle eighth that lists a hell of a lot of prescription drugs. There may be a connection there.... We then move onto the wonderfully titled "Mama Lay Softly On The Riverbed". Military-style drums power the track, although it's mostly typical Moz fare, apart from a brass section which may have escaped from whatever studio Foals are recording in at the minute. Track number three; "Black Cloud". Possibly one of the most apt titles of his career, it features Jeff Beck on guitar and is perfect for the oncoming world tour and any festival slots this year (fingers crossed).

Lead single "I'm Throwing My Arms Around Paris" could definitely fit right in on either of Morrissey's 21st century albums or possibly even a Smiths album, being part glam guitar stomper and part yearning, whimsical orchestral pop. On to another single now, with "All You Need Is Me" (he's a modest one, isn't he?) was previously released to coincide with last year's "Greatest Hits" compilation, along with other album track "That's How People Grow Up". Both songs are route one for Morrissey, but they're both perfect examples of his sharp tongue and way with words, as well as slotting in perfectly on the album. Separating the two former singles is the strangely-titled "When I Last Spoke To Carol" which is sees Il Mozalini transforming into Scott Walker for three and a half minutes, with Spanish guitars, even more brass and a wealth of melodrama thrown into the track. Somehow it comes off like a mix between "Bigmouth Strikes Again" and "November Spawned A Monster", but it works, by gum (did I really just type by gum?...)

"One Day Goodbye Could Be Farewell" is up next with it's galloping drums and an explosion of guitar from Boz Boorer, as well as possibly the best line since the songs on "The Queen Is Dead"; "And before you know, goodbye will be farewell/And you will never see the one you love again/And the smiling children tell you that you smell". You can always rely on Morrissey for a giggle. After the rollicking throwback first two-thirds, the album gets slightly more experimental for a bit (for Morrissey anyway). "It's Not Your Birthday Anymore" (you've got to love these titles) begins as a calm chilled-out ballad in the vein of "Dear God, Please Help Me" but the chorus is killer, and the music is possibly the best of Morrissey's solo career. "You Were Good In Your Time" is ever more Scott Walker-esque than before. A sombre, laid-back lament that would be perfect for, in the words of Johnny Borrell, walking home from school in the rain wondering why you don't have a girlfriend. The orchestration seems lifted straight from a 1950's romance film, but it suddenly stops and what replaces it is two minutes of creepy industrial noise, eerie horror-film strings and strange newsreel clips. It's dragged out a bit too much though.

The final two songs of "YOR" return once again to the distorted-guitars-and-sharp-tongue combo which has served so well, after the diversion to Experimental Town. "Sorry Doesn't Help" is possibly the weakest track here but it's still good enough to keep your attention until the end. Album closer "I'm OK By Myself" sounds like the quintessential anthem to describe Morrissey fans, which is a pretty good way to describe it. A perfect distillation of The Smiths and Morrissey's solo work, Boorer's guitar comes pretty close to Johnny Marr's chiming sound whilst the chorus of "I'm OK by myself!/and I don't need you/and I never have, I never have/Noooooo!" deserves to be shouted from rooftops, terraces, pubs, festivals and bedsits across the globe.

"Years Of Refusal" shows the Pope Of Mope in fine form, with an album which expands on his recent work and definitely improves on it. You can even imagine some radio airplay for the singles lifted from the album, especially if Moz grabs a few key festival spots in the summer, and if this happens then the crowd will be eating out of his hand.
ESSENTIAL TRACKS: "I'm Throwing My Arms Around Paris", "All You Need Is Me", "One Day Goodbye Will Be Farewell", "It's Not Your Birthday Anymore", "I'm OK By Myself"



9/10