Belle and Sebastian 2.0 comes bopping back with a synth-pop vengeance on Write About Love, their eighth full-length and second with producer Tony Hoffer (Beck, Phoenix, Air). The Smiths-loving, precious Glaswegian collective -- led by chief songwriter and vocalist Stuart Murdoch -- all but left their shy bedroom melancholy behind on 2003’s frustratingly exceptional Dear Catastrophe Waitress, and they continue in a similarly big and bright direction on the new disc.
“I Didn’t See It Coming” kicks things off with a sputtering beat and chilly, Air-esque piano chords. Stuart and Sarah Martin share vocal duties, singing about how “money makes the wheels on the world go round” over a very twee ‘80s Casio synthesizer backdrop. “Come On Sister” continues the toy keyboard shtick with its subtle 8-bit video game bop before the group finally delivers a classically lulling, down-tempo B&S ballad in the form of “Calculating Bimbo,” featuring their classic guitar pop jangle (very, very sweet minor chord change on that chorus, fellas!) and Murdoch’s trademark tongue in cheek, pseudo-sad sack humor.
The party gets started once again with the Krautrock, robotic hustle of “I Want The World To Stop,” featuring a densely layered horn and strings outro. The “And Friends” section of the show begins halfway, with a head-scratching duet of Stuart and Norah Jones on the country-tinged melody of “Little Lou, Ugly Jack, Prophet John." Listeners will get a an upbeat, propulsive ‘60s guitar-rock education from guest vocalist Carey Mulligan on first single “Write About Love," its staccato punches and stomps aiming for the gut instead of the heart. Guitarist Stevie Jackson takes the mic on the early Moody Blues-influenced “I’m Not Living In The Real World," while “The Ghost of Rockschool” is another classic B&S mid-tempo yarn with some twangy guitar lines and trumpet intrusions.
Only “Read The Blessed Pages” has any of the old-school, hushed intimacy of the band’s first few records, with Stuart singing gently over a freakishly warm acoustic guitar sound with processed flute giving the middle eight an oddly Medieval vibe. It’s spot-on, but the record could use a lot more of this and a lot less keyboard padding. The Sarah Martin lead “I Can See Your Future” has an exquisite chamber orchestra cameo, while album closer “Sunday’s Pretty Icons” is a processed guitar pop gem with some warm vocal harmonies on the verses and a tragically short, Pet Shop Boys-esque keyboard fade out.
Fans are right to bemoan the lack of more quiet, acoustic guitar numbers, but Stuart and the gang have evolved into an intelligent, (usually) restrained indie pop group with good heads on their shoulders and an ever-wistful bleeding heart. Write About Love may not rank up with their classic work, but it’s a very satisfying effort from one of our best groups.
Sum-ology: Too many keyboards and not enough sigh-worthy moments make this a somewhat disappointing, yet well written and suitable new Belle & Sebastian record.
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