In 2005, British Sea Power's Open Season was a much deserved album of the year, dispelling the cliche of not being a difficult second album and improving massively on the band's 2003 debut. It is an album full of wonder and intrigue, great songs and songwriting, and packed with great music. Three years later we all expect British Sea Power to build upon their semi-cult status and become a more arty Coldplay. We had a taster of this in the recent Krakenhaus EP which features two tracks from Do You Like Rock Music? It showcases a new vibrant huge-production sound that washes through the new album. But does it distract from the wonder and intelligence of the music?The album starts with a short introduction in the form of 'All In It', a rousing repeating stomping chorus mixed with chamber music. It sets a fascinating precedent leading into the massive 'Lights Out For Darker Skies', straight out of the blocks with big guitars, drums and strings. Front man Yan sounds more like Gruff from Super Furry Animals backed by Doves. After nearly four minutes, the song takes a delicate turn breaking the relentless sound. It quickly rising again, the guitars building once more into a spectacular finale.
'No Lucifer' starts lighter but soon brings back the thumping drums and football terrace chant vocals. The song sees bassist Hamilton on lead vocals playing Chris Martin, musing about 'the future' and fending off the evils of the world, while the rest of the band sing 'easy' in the background. Second single 'Waving Flags' could be confused for being an satirical ironic look at Eastern European immigration policy but (according to the band) is a genuine song of acceptance and welcoming. With lyrics such as 'And you, you will be here for a while. And it’s all a joke' and 'Of legal drinking age, on minimum wage. Well, welcome in' it's easy to make the mistake. It seems to be more about drinking: 'Beer is not death. Beer is not life. It just tastes good. Especially tonight'. This misunderstanding has much to do with the delivery which is soaked in cynicism and less than sincere. Back to the music and it's another stadium filler - more great drums and huge choral arrangement.
'Canvey Island' seems to start in the middle and talks of dispatching a 'wild swan' but quickly recalls the tragic events of 1953. It brings the modern day risks of rising waters into 2008. Again this is big production when it could benefit from a more subtle approach. The end is a multi layered mess of kitchen sink proportions. Into 'Down On The Ground', which has the best opening of any track on the album, shows real progression especially in Yan's vocals. The production here is more dreamy than stomping - things just glide along and blend rather than jolt and judder... Until about a minute and a half to go when the drums crash in and the song tries to end but fails horribly and sounds like someone forgot to turn off the tapes. At least this shows the band are not afraid to take risks and break from the formula even if it does create some uneasy listening. 'A Trip Out' is reminiscent of The Jam if they had stayed together for a few more years. What seems to be a celebration of 'seeing the world' becomes a song about the fear of 'going out'.
The opening of 'The Great Skua' has all the feeling of the boy who cried wolf, given all that has come before. You expect the big sound to knock you backwards at any time and break the tranquility but all that emerges are delicate guitars and a choir of cymbals. It becomes a musical vocal-free interlude that only rises in the last 30 seconds.
The album version of 'Atom', the band's first single from Krakenhaus, starts in similar style with an extended opening from the single version. Then it's business as usual. It would be easy at this stage to compare British Sea Power to Arcade Fire as the band sound like 20 people all singing and playing three instruments at the same time. The effect is exhilarating and overwhelming. An album highlight. The last minute of the song is another step overboard at the band attempt to mimic a scream of air raid warning sirens. Following on is 'No Need To Cry' which has all the feel of a big ballad from the start and that is exactly what you get. The impression is that the band have run out of steam and ideas, as the end draws near, but this is a beautifully arranged song; a welcome departure from the complexity of what has come before.
'Open The Door' is in danger of sounding like The Coral - pleasant enough but doesn't really fit. A short guitar solo threatens to bring back the big sound but there is more of the same. It has the sound of a personal song about loss and responsibility. Yan repeats 'Are you gonna live or die?'. Thankfully 'We Close Our Eyes' isn't a cover of the 80's Go West classic but instead the big album closer. The first couple of minutes would put the ambiance of Aphex Twin to shame until the church organ emerges (more Arcade Fire?). Then it goes away again, back to spooky electronics and weird samples. It's all a bit too strange. The last three minutes continues a reprise from opener 'All In It'. No quite the big finish.
British Sea Power have proved that the songs are still with them and Do You Like Rock Music? is a great follow-up to Open Season. At times the production and arrangement, typically involving a cast of thousands, does assault the senses far too much, but it's ambitious stuff. For those who like their music light and simple, this can be a daunting experience but for those who are looking for the antidote to the Arctic Monkey impersonators, you can't go far wrong with the majestic depth of British Sea Power.
-- CS
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