Sunday 1 October 2017

Beat poets: The Disappointment Choir's 'Vows'

I should say upfront - as I normally do when posting about the Disappointment Choir - that they are friends of mine. Full disclosure and all that. Luckily, that's never been an issue when it comes to spreading the word about their music. It's superb.

As one might expect from a duo with separate lives, day jobs and families, new music from Rob and Katy doesn't always arrive quickly - but when it turns up, it's worth many times the wait. These are exciting times for Choir acolytes, as the new album 'Vows' (their second full-length after 2013 debut 'Polar Ships' and interim EP from 2015 'To the Lake') arrives at last, in just a few days' time: Friday 6 October.

I'm pleased to report that 'Vows' is exactly the follow-up album one would want the band to make. From the outset, they were singular enough: an adult, melancholy sensibility - a mournful indieness that would comfort fans of the Magnetic Fields or the National - made buoyant on sparkling keyboards, synths and samples - think Pet Shop Boys in their more reflective moments. A couple of the songs on 'Vows' that exemplify this - 'Need Someone' and 'Centre of the World' - date from the EP, and are clearly too gorgeous not to find a home on a proper album.

But elsewhere on the record, there are new games afoot that push the DC sound into further realms of genre-scorning magnificence. While the production is hardly in-your-face, there's something a little more souped-up in the engine, and the inventiveness has certainly been turned up to 11. Take the first song released ahead of the album (for older readers, the 'single', if you will), 'Heartstrings'. Here it is:

I think it's almost possible to audit scientifically why 'Heartstrings' is such a glorious, affecting pop record. I shall use bullet points:
  • The verse is as immediate as some of the best choruses.
  • Then the chorus is a real winner as well.
  • The gentle, but insistent propulsion all comes from the melodies - the constantly moving synth bass makes your head nod and foot tap, but the percussion is quiet, almost a suggestion.
  • It's also the song's drive, its sense of purpose, that helps make it uplifting and wistful at the same time.
  • Where the lyrics repeat most busily, they actually match and encapsulate the exasperation of the character in the song.
  • Vocal harmonies have always been one of the band's strengths. Unlike, for example, the more familiar idea of groups with a seamless 'blend' of voices (siblings like the Everlys or Beach Boys, or Simon & Garfunkel, say), Rob and Katy have entirely distinct singing styles and timbres. So, while on the first few listens, you still get a unified feel for the overall tune, repeated plays reward close attention as you can follow each voice quite clearly and appreciate how the vocal lines dovetail around each other.
  • The song probably has the best-deployed "Oh-ho-ho" in recorded history.
  • When you get to the outro to find how THAT verse and THAT chorus can in fact be sung at the same time and sound amazing, it's a proper musical 'punch-the-air' moment.
  • And finally, the song doesn't outstay its welcome. So you play it again.
Two of the most extraordinary songs on the album are full-on dancefloor monsters. '1971' sounds for all the world like Daft Punk (armed with their vocoder) and Chic invading the Home Counties, its three minutes sporting massed anthemic chants, relentless synth bass and a genuine contender for a Deathless Disco Couplet: "It doesn't matter what's making the sound / If it's shaking the ground". Even a keening, 'Heroes'-style guitar makes an appearance towards the end.

And the opening track, 'A Quid's Worth of Free Advice' could be one of the best things they've ever done. Again, it's possible to hear them meld, and even surpass potential influences: the dancing blips nod to the 80s heyday of Depeche Mode and Erasure, while the brilliant interplay between the guitar and backing out-Electronics Electronic. But as both the Choristers increase even further in confidence vocally, the singing means this couldn't be by anyone else as Rob's regret-filled agility and Katy's forceful purity carry a lightning call-and-response through the verses.

I could go on: there's the winning closing moments of '2½ Minute Love Song' where each of the pair seem to happily inhabit their own separate record; the unstoppable 'Captain, 15' with its soaring vocal line, approximately 37 different versions of the main rhythm, and instrumental break worthy of the atmosphere of 'Telstar'; the gorgeous 'That's When We Fall', mining its poignancy from the way all the instruments appear to initially hold back from the beat. Eleven tracks in all, precision-tooled to keep both the ears and brain fully occupied.

If you're struck by what you hear, then please support the band, and we'll have more of this heady, powerful pop brew to look forward to. You can order 'Vows' on various formats, all the way from a mere phantom digital option, to a (no doubt synthesised) bells-and-whistles vinyl/CD/bag - yes, BAG - combo for those of us who appreciate something a little more luxurious. All Disappointment Choir-related sonic riches can be found here on their Bandcamp page. Make haste!

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