Sometimes I worry that I am too hard on young bands: as my chances of becoming a grand prix speedway rider recedes as rapidly as my hairline, I find myself complaining that these new bands all sound the same, or that they are imitating bands that I listened to when I was still doing my Latin homework. Then, listening to Martina Topley Bird’s latest release, I realise that I am not being unfair: it is quite possible to accommodate the past, fuse modern technology and very old fashioned lyricism into a concise, atmospheric pop that is thrilling and seductive.
Topley Bird used to sing with Tricky: while his art had delved into darker and darker places, she has held the balance between accessibility and originality. Throughout The Blue God she evokes a long lost rock’n’roll, her rich voice teasing out the romance in decay while co-conspirator Danger Mouse applies a mysterious sheen to guitars and floating keyboards. If the subject matters veers towards the obvious- damaged love, the allure of the funfair, erotic obsession- it is performed with a considerable grace and elegance, with Topley Bird capturing an authentic jazz weariness.
Understated, slinky and woozy, The Blue God is a lush reminder for bans who hope to mine the past: nostalgia can be a tool, not a product, and modern production does not need to be brash or harsh. This is an exquisite fusion from two unique artists.
//Andy Wood