Guillemots – Red Album
Normally a 70s throw-backing, fleeting glam rock edged foray is as clichéd as Bruce Forsyth quip and lacks the necessary frivolity and loft these days. However, for the usually flighty, empirical and electro sliding pop protagonists, Guillemeots it represents a refreshing departure for them.
Second album opener, ‘Kriss Kross’ builds up to its rock plateaux from a grandiose key kick and thoughtful lyrics are delivered through the quivering falsetto of Fyfe Dangerfield, matching the impact of Mika. An immediate tone switch sees funky R N’ B/pop sliding ‘Big Dog’, draw in the slightly screeching, high profile backing touch of Aristazabal Hawkes. Along with some thunderous percussion she helps to take the track off in different directions.
There has been many a comment as to how different the Guillemots live impact is compared to their debut album, ‘Through The Window Pane’. In this second full-length they do to a large extent, manage to replicate their live eccentricity. Whereby, the above-mentioned bold beginning is cushioned by the piercingly poetic ballad, ‘Falling Out Of Reach’. It possesses the most prominent acoustic element in the history of Guillemots.
At times, they produce the feel you’d expect from Arcade Fire had they been told to hurry up in the studio. Pacing euphoria and a vast, broad electro based instrumental sound are the main ingredients to this spicy broth. Making you amazed to learn that four people alone creates this varied sound and impact. The Gary Numan sparring against David Bowie with commentary by Ladytron feel given off by ‘One Last Kiss’, underlines the step forward that this quartet has made.
The haunting harmonica led, ambient toe of ‘Words’, is pure reflection music. Dangerfield’s supple lingering vocals lead a cry out against over-speaking. Let’s just hope that Johnathan Ross listens to these views;
“I think that life would be so much easier behind no words.”
In true contrast, they follow this with a word-perfect, melodious stroll ‘Standing On The Last Star’, again using the pull of the lead man’s falsetto.
Guillemots are about to bolster even further their reputation as a moving, slightly eccentric and expansive four piece.