More on: The Long Blondes

Label: Rough Trade
Release Date: 07/04/08
Rating:

After touring relentlessly with debut 'Someone To Drive You Home', The Long Blondes are back with the sequel, simply titled 'Couples'. Departing on a voyage of discovery that often results in analysing the mechanics of a relationship (or lack of a relationship in some cases), the Sheffield crew have expanded immensely on their first record and the end result is a worthy contender for record of the year.

Opener 'Century' marks new territory, its heady mix of electronica-fused punk and politically-charged lyrics falling somewhere between Blondie's 'Atomic' and The Clash's 'Combat Rock'. After the futuristic kick-off, we're lead into the pounding disco glamour of 'Guilt', a vehicle for predicting what The Bee Gees might have sounded like if they had true rock and roll values at their core (and a female singer rather than a trio of men with lion's manes and three part harmonies, of course). 'Guilt' is a look into things to come over the next eight tracks – it's not a sound that has been tinkered with by the band on their debut, but a short listen is all it takes for the listener to confirm they are listening to Screech Louder and his gang.

What stands out, track after track, is the variety of ways Kate Jackson deploys her vocals: from the seductive falsetto of 'Too Clever By Half', to the powerful shouting of 'Here Comes The Serious Bit', and the angst-ridden whisper of 'Round The Hairpin'. With its buzzing static and harsh drums, the latter details a car crash while on holiday abroad, and is a great, if not sinister, surprise to both the pace of the record and the more upbeat styles that came before it. Highlighting other standout tracks is tough due to the quality that is consistently on show, but 'The Couples' is a choice cut that harks back to their first release, serving up straight rock with lashings of attitude and an acoustic guitar that lifts its chorus high above.

While 'Someone To Drive You Home' experimented with a few genres and eras in music, 'Couples' has much more variety and scope, and as a result the record seems timeless - its tracks rarely offering accurate views into the time they were produced. This juggling of influences allows the band to fully spread their wings, and not only are they able to mix these styles, they're able to do it in a fashion that stamps their names all over the place whilst tearing up their favourite sounds. The initially rousing, eventually apocalyptic, piano-bruising that is 'I'm Going To Hell' ends their second outing with a bang, shortly followed by the pressing demand to go back to the beginning and ride the rollercoaster all over again.

It isn't wholly surprising that The Long Blondes have crafted an arresting pop record devoid of filler for that all-important second album, but the way in which they have done so - exploration of new sounds and all - is a testament to their integrity. Of course, the only problem they have now is coming up with something to top this: a collection of songs more refreshing than a bucket of ice water in the face. Essential.

Graham Drummond

The Long Blondes Official Site