Machineries of Joy

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I’ve written many times about British Sea Power on this blog and I make no apologies about how much I love their music.

April 2013 saw the release of their 6th studio album Machineries of Joy (if you count the controversial soundtrack-only Man of Aran, which I do) and after a two-year hiatus where the band has concentrated on trialling new material and hosting the eccentric Krankenhaus club nights in Brighton, the band are back on the road touring a new album.

The album has been lauded by the critics perhaps slightly more than usual with phrases like ‘coming of age’ and ‘good to have them back’ and whilst this is always a good sign, the audience will be the judge of that. It;’s fair to say that BSP plough their own persistent furrow, doggedly avoiding anything that can be vaguely described as commercial.

Although their anti-cash-making instincts may have eluded them with Machineries of Joy.

Don’t get me wrong. This isn’t Thriller. It’s not an album that they can retire to the South of France on, in fact I doubt if they will be able to retire to South London on it. But there is a more grown up acceptance of who they are and a lush production job makes up for their earlier sparsely produced affairs. There’s a great mix of stomping rockers and melodious, large format tunes that deliver the most satisfying album since Do You Like Rock Music? Time will tell if this album can deliver above that (and I think it can) but what I do know if the new songs are a revelation live and this is usually where BSP and their audience get to know the new album.

Last week was the Leeds Met UNi gig and this is a thrillingly small venue with enough space to get a decent audience in and I’ve seen a good few BSP gigs there. This time seemed different somehow – yes they delivered familiar crowd pleasers Remember Me, Carrion et al – but only after we’d been hypnotised for an hour with mesmerizing, melodic tunes. Usually I’d be getting agitated that everything wasn’t kicking off, but not this time.

It almost seemed like they’d slipped into another gear: happy to be delivering raucous rock anthems to the faithful but alongside these they seemed to have more faith in their ability to inhabit the expansive spaces of Machineries of Joy. BSP has always about the contradiction of orchestral and full tilt guitar but these have often been at odds with each other, requiring different sets or in some cases evenings. But something has changed somehow, a small but discernible shift in the band that could open doors for them.

I’m looking forward to seeing what might happen at this next stage…

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Many thanks to Carl Milner for the superb selection of images – more here

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