Black Midi – Hellfire
(Rough Trade)
Having made one of our favourite records of last year in the form of ‘Cavalcade’, us Birthday Cake For Breakfast lot were very pleased to hear that Black Midi weren’t mucking about when making its follow up. Coming through just 15 months later, third album ‘Hellfire’ continues the expect the unexpected nature of this trio, with the band citing it as their ‘epic action film’. An accurate descriptor for this highly ambitious, conceptual affair that tells a series of stories, some set in the midst of war, others depicting the reality of a Hell. Though the frantic, math-iness of their debut is much more subtle this time round, this builds heavily on the drama fuelled, progg-y flamboyance of its predecessor.
I wouldn’t necessarily call Black Midi a jazz band, but they certainly sit within that aesthetic of being simultaneously free-flowing and super tight. ‘Sugar/Tzu’ is a gleaming example of this, building around a laid back yet atmospheric groove that ascends into mind-boggling noodling. ‘Welcome To Hell’ follows a similar formula, this time letting a flurry of brass soar high around a crashing pit of drums. Even before I knew some of the ideas behind the album, I felt like I was descending into hell in all its magma worshiping madness.
As always though, Black Midi offer moments of respite, the country soaked ‘Still’ providing the gorgeously crafted centre piece to the album that lifts into a beautiful orchestral interlude. As ever, Black Midi always keep you guessing with some proper M. Night Shyamalan twists throughout the duration, all coming brilliantly together on the musical theatre stylings of big show closer ‘27 Questions’.
Black Midi have never really made immediate music, but this is certainly their most challenging effort that requires multiple listens to unlock all its detail. It’s definitely their most complete album that needs to be consumed as a whole. And though I have been a fan of this band from day dot, ‘Hellfire’ has really made me understand the real concepts behind the band. This is a band that make music for yesterday, today and tomorrow. Engaging songwriting, unreal musicianship and a strong vision, Black Midi keep steam rolling ahead in being one of the UK’s most fascinating acts.
Interpol – The Other Side Of Make-Believe
(Matador)
I find it hard to believe that I haven’t banged on about Interpol on these pages before! The NYC trio have played a big part in my love for indie rock since my teenage years in the early 00s. They’ve always been one of those bands that have this magic formula that has transcended decades and keeps their legions of fans hanging off every note. The last time we heard from them was on the excellent ‘Marauder’, which I think hosted some of the band’s finest material to date, offering a very live sounding record that harked back to the energy of earlier material.
Since then, frontman Paul Banks went off to front supergroup Muzz, who released a beautifully shimmering indie folk record that I was very fond of in 2020. I’ll be honest, I did wonder if this slightly more laid back approach to writing would effect the tone of a new Interpol record. On first listen to initial single and opener ’Toni’, it felt like this may be the case, with the band bringing us in at a gentle pace led by a simplistic piano driven melody that immediately made me think of The National. But as ‘Toni‘ progresses, you feel the track gaining momentum, adding in that brooding sense of urgency Interpol are so well known for. From that moment, ’The Other Side Of Make-Believe’ plays an elegant dance of slicked back indie rock that sounds like a band settling into a sound but still retains their atmospheric, down-town New York blueprint.
‘Fables’, ‘Into The Night’ and ‘Greenwich’ boast that classic Interpol sound, doing this rare thing of sounding comfortable, but it’s the combination of twanging guitar melodies and Paul Bank’s iconic, engaged voice that makes you sit up and listen in. It may seem a bit too familiar on first listen, but I found this is a record that reveals the majesty of its hooks the more you listen in.
Though I think the casual listener will find some solid moments on this record, I would say that ’The Other Side Of Make-Believe’ is an ode to OG fans. As an avid follower, this feels like another sturdy Interpol release with a subtle yet gracious dynamic shift that not only suits them but turns them into statesmen of the indie rock world.
Working Men’s Club – Fear Fear
(Heavenly)
I remember walking around a rain drenched, muddy-as-you-like field the day Working Men’s Club released their debut album in 2020. Though I knew I’d likely be stuck in the house for the rest of the weekend, there was a forward moving energy to the record, with its 90s dance beats and 80s post punk snarl, that excited me to get back into the thick of it. It seemed that many agreed, with the album going top 10 in the charts and receiving many plaudits and AOTY statuses. It seemed that the band’s leader, Syd Minsky-Sargeant, was already thinking ahead when he sent a bunch of new music to the label the day their debut was unleashed.
Keeping up this forward motion, Syd began to build second album ‘Fear Fear’. On the teaser tracks released so far, it felt that Working Men’s Club were getting moodier, with tracks like ‘Widow’ and ‘Circumference’ offering a more shadowy, gothic slant on their synth laden sound. It soon transpired however that ‘Fear Fear’ keeps up the clubbed out atmosphere of its debut, naturally exploring and expanding wider.
‘Ploys’ is a summer smash in the making, with its subby bass melody and extremely 90s inspired synth leads. But for every dance pop hit there’s a deep dive for the real ravers, with ‘Heart Attack’ and ‘Money Is Mine’ bringing the acid rave heat, all with a slick indie twist.
‘Fear Fear’ feels much more refined in its approach, with the more guitar driven post-punk sounds dialled down to make more space on the dance floor. With lyrics written in the heat of lockdowns – looking into psychical disconnection and instead keeping up more digitally informed relations – this is a thought provoking, melancholic affair that is juxtaposed with the euphoria of its instrumentals. This is dance music with a heart. Its influences may be clear yet its approach feels fresh, which makes for a compelling comeback from a clearly talented young band.
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