Redjetson - 'New General Catalogue' (Drowned In Sound)
3/5
By: Clara Burtenshaw
To categorise the sound that Clive Kentish and his five-piece band have created on 'New General Catalogue' would be on a par with attempting to look at the night sky through a chink in the wall: saying that they give Coldplay a run for their money in terms of thoughtful musicianship and alluding that they refract Radiohead's burning intensity through a magnifying glass does little justice to the roaming, multi-textures of guitars, trumpets and glockenspiels that whip up despair to match Kentish's lugubrious lyrics, just as the pocket of stars you might make out will do little to capture space.
And yet such imagery is derived even after iffy beginnings. Opener 'Divorce' is perhaps the weakest song on the LP, suffering from a dynamic predictability and self-indulgence in epic proportions. 'Stay Comfortable', however, picks up the pace with an instrumental that impels sensibilities musically in the same way that Hope of the States compressed fearful mass sentiment into 'Black Dollar Bills'. The shy, Chris Martin tones of Kentish's vocals here take on an unguarded weariness notably reminiscent of Interpol's Paul Banks, or Brandon Flowers, a trend that continues past the ubiquitous resounding of distant claviers and chiming which are lent variety by Spanish-style guitars in the appropriately titled 'New Europe'.
Elsewhere, there are arch sound-effects in abundance, lavishly arranged strings and abruptness aplenty as one would expect from a band dealing in post-rock musings. And, resoundingly, this album's success will lie in its ability to be heart-wrenchingly stirring without ripping the organ from your chest and forcing it down your throat... We think this is a start of a most beautiful catalogue indeed.
Artists in this article: Redjetson
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