(69 Bluebird, 2010)
Rumpled velvet pop from weary Scots romantics. Out on Monday!
First, I must declare an interest. Half of Boo Hooray is Tom Doyle, a music writer of this parish. While that might call my objectivity into question, I prefer to see it as reflecting positively on MOJO that its writers can make such good records. Doyle joins this fraught young man, the sideburned chap playing mean Rickenbacker, this young drummer getting short shrift from the TOTP cameramen, and one of the good people behind this swoon of gorgeousness: MOJO contributors all. Proving, if nothing else, what a broad church we keep, Doyle's MO could not be more different from all of the above. Boo Hooray specialise in intimate, soulful pop - nicely grubby and fuzzed like the hangover's kicking in and the Wurlitzer's on the blink, a bit Costello on Cursed Moon (from 3.49 here), a touch of Mark Hollis's crushed bleat on Haunted By You. Imagine walking into a derelict dancehall to find the spooks speaking through harp echoes and glockenspiel tinkles, and the creak and whirr of unidentifiable junktronica. Loss and its bedfellow, the dull ache of disappointment, hover in motes of dust, especially on the woozy The Last Day Of Something ("it's the first day of nothing...") and exquisitely psychedelic Gramophone Needle, where the implications of the phrase "vinyl junkie" are fully explored. Doyle and oppo Anth Brown have spent a while getting here - an album as Electric Music, another as Electric Music AKA (Kraftwerk's Karl Bartos, also operating under "Electric Music", objected) - but the balance between organic instrumentation, classic songcraft and po-mo cut-and-paste elements has been perfected here. With rumpled velvet pop back in vogue, it could be their time. As long as these guys don't sue.
Danny Eccleston
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