More on: Duels

Leeds-based quintet Duels first came to the fore after support slots with compatriots Kaiser Chiefs. A single through Transgressive followed, and eventually signing to resucitated V2 imprint Nude, the band set to work on their debut album 'The Bright Lights And What I Should Have Learned' with top producer James Ford. Here, Clickmusic gives an initial run-down on what to expect from the record, released 10th July.

Brothers & Sisters
From the word go, it's blatantly obvious that the Duels of twelve months ago and the one we find on 'The Bright Lights And What I Should Have Learned' are radically different entities. It's not that they've entirely abandoned the catchy pop sensibilities, but instead grafted on the biggest side order of off kilter, anthemic wizardry imaginable. 'Brothers & Sisters' stomps around, sounding something akin to a ghost train contemplating coming off the tracks, complete with ethereal backing vocals and winding guitar line. If Arcade Fire were British, they might sound something like this.

Things
A former B-side, the album version of 'Things' is a far meatier prospect than what has gone before. Brooding electronica beeps and fuzzes like an updated offcut from Pulp's 'This Is Hardcore' before everything comes to an abrupt halt.

Potential Futures
A re-recorded version of the band's first single, 'Potential Futures' is a sharper, spikier beast second time around. Piano rolls, jabbing chords and sweeping synths all turn the pop factor right up without ever sounding over polished.

The Slow Build
Kicking off with a single vocal and acoustic guitar before synths, handclaps and all kinds of wizardry join the party. Possibly the biggest indicator of just how much Duels' sound has evolved, it's both simple and effortlessly grandiose.

The Monsters Are Loose
The perfect example of the oddly unverving tinge to 'The Bright Lights...', you can almost imagine the claps of thunder in the background of 'The Monsters Are Loose'. By the time the unfeasably distorted guitar solo hits, it's a track that more than lives up to its name.

Animal
The big pop song, 'Animal' is the clearest echo of the pure pop of Duels early shows. Punchy guitars and a keyboard break straight out of Blur's 'Popscene' rulebook, it's a lesson in how to be catchy and interesting in the same three minutes.

What We Did Wrong
The self proclaimed 'show tune' of the setlist, to call 'What We Did Wrong' a standout track would be more than a slight understatement. Theatrical to the last, it's the secret weapon in the Duels arsenal pulled off in emphatic style.

Pressure On You
Catchy hooks and drum beats are one thing, but once the pseudo Victorian freakshow vibe of 'The Bright Lights...' is added to the mix, 'Pressure On You' becomes something all together different. A chlostrophobic and pounding, it's a far better song for it.

Young Believers
Extended to over five minutes, and with everything pushed to the limit, 'Young Believers' is nothing short of huge. Moving from underplayed to something close to a full on mantra, it's a genuinely spellbinding moment.

Once In The Night
Track ten, and we get our first full on string section. It's entirely justified too, blending perfectly with a straining guitar line and rising vocals. Probably the natural end point for 'The Bright Lights...', it's almost expected that it isn't.

Taxi Song
Reclaimed from Duels offshoot The Rebellion Threat Kills, 'Taxi Song' slow burns itself like a other wordly nursery rhyme mixed with an Andrew Lloyd Webber musical (if you listen carefully, there's a couple of moments that remind us of Memories' from Cats). A low key but fitting end to an album that defies all expectations.

Photo: Peter Hill

Stephen Ackroyd

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