Glasgow’s original procrastinators, The Blue Nile, are held in high regard by their legions of patient fans; five or six years passing between each carefully crafted release and every single record worth their weight in gold.
While There Will Be Fireworks and aren’t really procrastinators, they are perfectionists and have geographical issues to overcome – with three members living in London – the quiet band of TWBF fans have waited patiently for over four years for the follow-up to their self-titled debut album.
Although it’s not been six years between each release and there’s been the odd EP, it has been two years since they originally went into the studio to record The Dark, Dark Bright – a lifetime to any fan who has the hauntingly poignant spoken words to ‘Columbian Fireworks’ etched in their memory: “And there will be fireworks, and they will light up your eyes…”, and so began a journey into one of the greatest record to be produced by a Scottish band – honest, endearing, uplifting, lowly, sullen and above all refreshing; spanning a wave of emotions and sentiments that are not only relatable but tangible and beautiful in their tragedy.
Not too much pressure for this twelve-track follow-up then…
After some spoken word on ‘And Our Hearts Did Beat’, the record jumps straight to it with the pacey track ‘River’. Nicky McManus’ vocals are pushed to the limit, as are Adam Ketterer’s arms on the drums, an absolutely storming way to open an album.
Apart from ‘South Street’, ‘Roots’ and ‘Youngblood’, the only snippet I’d heard from The Dark, Dark Bright prior to the release was a rather intriguing and grand portion posted as part of an update from the Old Mill studios, where Gibs Farrah plays guitar with a bow for a euphoric portion of a track that follows Nicky’s haunting lyrics and some truly beautiful piano from Stuart Dobbie.
It turns out that this song is called ‘Elder and Oak’ on the record and it’s a behemoth in comparison to the others and a very fitting penultimate track. Constantly building towards that crescendo, piano repeating in the background, pace quickening until the music drops off the face of a cliff and then there’s silence before that spectacular ending.
Nicky sings: “And so we lay our backs against the weeds; a stony scented silence at our feet; a million foundry fires lit up the sky; and as the city slowly stirred we died.”
‘Ash Wednesday’ is a rather grand track, taking advantage of a cello and violin; still packing a punch but displaying a broadened and mature side to the music.
‘Here is Where’ is another infectious track, a looping guitar remaining as a constant for some shape-shifting bass lines from David Madden.
The idea of ‘moving on’ is alluded to on the record, with Nicky being the sole member of the band remaining in Glasgow.
This is particularly true of ‘The Good Days’, a rather lonesome but staunch ballad, Nicky declaring “you used to be my dear green place”.
Not falling out of love with Glasgow but a new perception has grown and the experience of the city has changed for the singer – a rather melancholy way to round-off a beautifully refined record but an apt ending nonetheless.
The Dark, Dark Bright has surpassed expectations, staying true to a formula that has garnered a tight group of cult followers, but the risk of expanding and broadening aspects of the music to this extent has paid dividends and the full potential of this fantastic band is now fully exposed with this thought-provoking album from one of the finest bands of our time.