The Magic Numbers double platinum self titled debut was a gorgeous mix of dreamy pop and introspective ballads. For many it was the soundtrack to the summer of 2005.
Not surprisingly, the quartet – comprising two pairs of siblings – have been quite the busy bees since its release, touring the US Midwest with the Flaming Lips and Sonic Youth, as well as securing highly sought after support slots with Irish rock legends U2 and their all time hero Brian Wilson.
All the while, they were also working on their second album, Those the Brokes, which was later recorded in the serene mountaintop estate in Woodstock, Upstate NY, with singer Romeo Stodart (looks like Dougal from the Magic Roundabout) and his bassist sister Michele (nothing like Florence) sharing production duties.
But is it any good? Multi instrumentalist Angela Gannon (younger sister to bandmate and drummer Sean) seems to think so.
“I think the pressure was on us to make a better record, and I think we did,” she told NME. “If this record tanks we know that we’ve made a better record than our first one.”
They say:
The Observer: “This is a frustrating set with glimpses of gorgeousness.”
We say:
Okay, so you release one of the most cherished albums of 2005. Now how do you top it? Answer: You Don’t. You lather, rinse and repeat.
At least that’s essentially what the Magic Numbers have done on Those the Brokes, with tracks such as ‘Take a Chance’ and ‘Carl’s Song’ recalling the hypnotic, three part vocal harmonies, groovy bass lines and Leon cum Zuton esque pop riffs of its predecessor, albeit with a slightly harder edge that will surely have you tapping your feet and grinning like an idiot.
And yet just like before, the bright, sun kissed melodies are a clever disguise for the heart of darkness that lurks within, ravaged by regret, resentment and a love that feeds on itself.
‘Slow Down (The Way It Goes)’, for instance, sees two warring lovers pining for their wounds to heal against their own better judgement, singer Romeo soulfully crooning, “And I try and try to move on/I guess there’s something inside that keeps holding on” over delicate guitar stabs that are reminiscent of Opal, while on ‘Take Me Or Leave Me’ (sung by Michele) the female responds, “No I can’t get over you/Just take me or leave me alone” accompanied by a nine piece orchestra arranged by Robert Kirby, who previously conducted strings on Nick Drake’s Five Leaves Left and Bryter Layter.
It’s all impressive stuff. But if there can be one argument made against the album it is that quite a few of the songs lack a certain discipline, resembling three minute pop songs stretched to over four or five minutes – something a bona fide producer would have perhaps rectified.
But honestly, when bleeding hearts sound this good, you can never have too much of a good thing. This is beautiful beyond belief.
Like this? Try these:
The Mamas and the Papas – If You Can Believe Your Eyes and Ears
Kings of Leon – Aha Shake Heartbreak
The Beach Boys – Surf’s Up
RELEASED
6th Nov ‘06
LABEL
EMI
POSTED...
Fri 3 Nov 2006 at 6:26pm
