Sometimes you hear an album and feel immersed in a
different world, Bombay Bicycle Club’s fourth album is no exception with it
feeling like an adventure from the word go. So
Long, See You Tomorrow is probably the album we’ve craved for a long time
from the growing four-piece. While still incorporating their youthful energy
and experimental production, this creation is definitely a little more off the
beaten track. Described as a “revolution
of sound, not an evolution” by bassist Ed Nash, the new release is certainly
far from their shimmering indie-rock debut and the groove-driven A Different Kind Of Fix. A simple way of
summarising the sound produced is electro-rock, but this doesn’t give an
indication to the overall virtuosity of their first-ever Jack Steadman produced
album.
The synthesiser-driven tracks
use an array of loops and samples from music from around the world; most likely
influenced by their long touring schedule including phases in India and Turkey.
You’d think you’d be confused upon reading that “continuity is the theme” and
then concluding that not one song sounds the same upon listening; but in fact,
all the different styles, each unexpected as the next, do run fluently with
balance. An interesting feature of the album is that it’s subtly unified by one
single loop, as the melody of the final song picks up that of the opener. Compounding
the effect is the last lyric we hear “Keep going round and round and round…”
The idea of continuity lies evidence to the interactive video for album teaser
‘Carry Me’ and the album artwork inspired by stop-motion pioneer Eadweard
Muybridge. The image depicts a man and woman travelling in opposite directions
under the moon and sun and is designed to echo the theme of continuity in the
album.
‘Overdone’ is the triumphant,
string-laden opener which kick-starts the album with a raucous instrumental
section of commanding percussion and piercing guitars. Running through the
infectious ‘It’s Alright Now’, we’re delivered gentler grooves akin to that of A Different Kind Of Fix but this time
the tender sentiments are offset by invigorating military-funky percussion.
‘Carry Me’ was the first teaser from the album that was unleashed upon us
unsuspectingly. The muscular, experimental tune is a radical departure from
that of their previous albums as above all it is a dance anthem. The whirly
electric guitars and shimmery keys are brilliantly juxtaposed against the
strong, offbeat rhythms. Nothing else on the new record sounds like ‘Carry Me’
– the album flows effortlessly through a collection of aural landscapes that
blend into a coherent whole. ‘Home By Now’ immerses in harmonies as nu-folk
meets hip hop and is topped off by the sweet backing vocals of long-time
collaborator Lucy Rose (who features throughout the record). A personal
highlight on the record comes in the form of slow burner ‘Whenever Wherever’
which begins following a simple piano hook and ethereal vocals, but then
suddenly breaks into an unpretentious electro-house jam. The song seems designed
for a festival afternoon with fluctuating sensitive, downcast moments and dance
driven rhythms that make you want to smash plates.
The most recently previewed
track ‘Luna’ continues with breezier antics, balloon-sized harmonies and dwells
on the sense of wondrous curiosity. The Indian influence is shown here again,
with a Tabla beginning and a Bhangra style beat running through out. The clean
composition is aided by the combination of a male-female chorus which makes it
feel very current. Emerging talent Rae Morris features throughout the record
too with ‘Luna’ being her establishing collaboration single. ‘Eyes Off You’ is
a tender duet which briefly breaks away from the dance offensive and portrays a
sea of calm by using closed mics and a piano measure. The track gently swells
from a waiflike ballad to a Balearic relaxation. Follow up ‘Feel’ is the
bravest track on the new album which will inevitably leave many fans sitting on
the fence. I, for one, am not perturbed by the extreme departure from all produced
before. It’s a spicy party driven by a hypnotic hook from a 1950s Bollywood
film soundtrack. The genius of this track incorporates not only Turkish belly
dance blips, but is also part Mariachi band (with an incontestable salsa beat)
and holds some Greek tavern aura. ‘Come To Me’ is a delight that sways towards
the groove of A Different Kind Of Fix
and has a hint of romanticism. But Jack Steadman has insisted that it’s “very
much a stream-of-consciousness thing,” and that the audience should “be the
psychologist that analyses it.” The idea of allowing the listeners to interpret
the lyrics in their own way supports the idea of hopefulness. The album ends
with the title track ‘So Long, See You Tomorrow’ which ends the ongoing loop
and melts all the sounds and influences together in a euphoric conclusion. The
genre and culture spanning album is wrapped up by a long series of chords and
an airey falsetto that waltzes in and out of melody. The gentle ending is false
and the track gives you one last enraptured electro-finish (that like The
Chemical Brothers).
This gem will certainly stand
out in 2014 and for years to come, as it will be a career defining checkpoint
for the young lads – similar to that of Given
To The Wild by The Maccabees. Released on the 3rd February this
year on Island Records, I seriously advise you to buy this album; it will
certainly be a strong contender for my potential album of the year (it’s only
January, I know).
Bombay
Bicycle Club – So Long, See You Tomorrow
Out
of 10: 9.3/10
Written
by – Richard Maver
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FOLLOW // [FACEBOOK]
OTHER // [OFFICAL SITE]