Owen Pallett – In Conflict

Although it's not much to look at, the cover of Owen Pallett's new album In Conflict is a telling reflection of the music's beguiling appeal. The four columns of text contain the lyrics from the songs on the first half of the album, but a cancerous blob of ink obscures a good portion of the words. Everything may be laid out in black and white, but part of it is deliberately obscured, frustrating any attempts to apprehend 'the big picture' and grasp its full meaning. Perhaps as a result, In Conflict holds me rapt. Its appeal is immediate, its beauty obvious, but its motivations and through-lines feel like they're just around the corner, dissolving into air or ducking into the shadows as you move thuggishly towards them.
 
Such a response feels appropriate when the music is this shamelessly sophisticated, this swooningly gorgeous. Having never heard Pallett before, I have no idea if this is his usual MO, but initial spins of In Conflict make it abundantly clear he's a master at this stuff: melodies move in delicate arcs, lovingly coloured with brass and strings, his soft, supple voice reaching and harmonising with itself. Tracks flow together like water and the arrangements feel like natural, billowing things – part of the songs' DNA rather than a later addition to make the music sound more epic and emotive.

From opener 'I Am Not Afraid' through to awesome single 'The Riverbed', I simply can't fault this record. That's about 40 minutes of beautiful, orchestral pop music, with 'The Secret Seven' and 'Chorale' its delirious apex. If I was nitpicking, I'd say that after the heady rush of 'The Riverbed', the final three tracks feel like too much – the wafer-thin mints that bust the gut after a hearty, satisfying meal. Ultimately, though, this is music that leaves me clawing for superlatives and eager to experience more of Pallett's music.

Spoon – 'Rent I Pay'

Spoon are fundamentally a rock'n'roll band. Generally, I can't stand rock'n'roll's boozy good-time glow, its recycling of songwriting tropes, its leaning on bluesy riffs and classic rock posturing. So why do I love Spoon so much?

They tread a fine line, that's for sure, between cutting loose and holding back. In their new single 'Rent I Pay', the chorus gets a bit cringeingly pub-rock – the line "That's what my brother would say", doubled by the backing vocals, being the prime culprit – but there's that Spoon rhythmic jag to the song that not only keeps it afloat, but renders it pretty damned crankable. 'Cos prime Spoon is, if nothing else, all about tense, meticulously produced momentum and hip-snapping swagger. Everything locks in and charges on, dragging you behind it, panting.

'Rent I Pay' isn't doing anything particularly unique in Spoon's discography, but the production hand of Dave Fridmann nudges all the instruments into the red, giving the whole song an overdriven glow that suits Spoon down to the ground, especially as this is one of their songs where Britt Daniel's voice (The Best Voice in Rock'n'Roll Bar None TM) is at its limits, controlled but straining into its golden, throaty glory.

Spoon are a rare beast – a singles band and an albums band. Their new album They Want My Soul (due on Loma Vista in August) is eagerly awaited by my earholes. This will do nicely for now.