Reviews / Album

Some of the drums recall DJ Shadow, but more often Big Scary blaze their own trail, and it works well for them.

At 17 tracks this is way too long and unfocused through the second half. One wonders which direction he’ll opt to really focus on.

With production from Sam Ford (Pond), Abbe May has turned out a thought-provoking and hugely provocative album. The ballsy, I’ll-do-what-I-want approach suits her.

It’s almost exactly the album Kanye had to make; with less lyrical gaffes it would have been perfect.

The homage to his parents who were masters on the folk scene at the end of the album is a wonderful way to end a tasteful outing. Weeping Mary was also recorded by them and no doubt this version would make them proud.

Not only is it an interesting standalone piece with a grating industrial opening, its vocal mirages, scatty beat and haunting synth ebbs combine all the elements that make this now three-piece still worthy of our attention.

This is music for late nights and comedown mornings; it’s for red wine and close times. There’s so many ideas pushed into this record that by all logic it shouldn’t work. However, it does, and spectacularly so.

In a nutshell, if you want a beer-drinking soundtrack and don’t have access to your ‘70s rock collection, this’ll do just fine. If you want something new, or original, go back to where it all came from.

Punk goes pop.

Pop-punk with brains and extra sugar.