Jamie T’s second album in two years is a punk, rap, pop and hardcore tour de force
London Stoke Newington Vortex
These are men for whom self-deprecating sadness comes with ease, who can name a song [B]'Arm The Lonely'[/B] with only the faintest, driest smirk.
They're also, as it happens, extraordinarily quiet. And slow, deathly slow. So Savoy Grand's armoury includes vibes, brushed drums, a severely muted trumpet, a guitar that might as well have one string, and a singer, Graham Langley, whose high and lovely voice can be virtually drowned out by a smothered mobile phone.
Transparently, we're dealing with a very stubborn band trying exceptionally hard to be affecting. Better still, they succeed. If their songs at first seem aesthetically linked to the hushed beauty of Low, closer inspection reveals that Savoy Grand purvey a very English sadness. The significant pauses and distant tragedies of late Talk Talk are the best correlative, the sort of music that usually feels too fragile to be let out in public. When, in 'Business Is Good', the trumpeter briefly blows a bit harder and makes a vulgarly audible noise, the audience's relief is palpable. Hard to hear, perhaps, but so tense, so naked, it's hard to ignore, too.
Character studies and ready melodies abound in the latest record by the Oxford quartet
A battle-like record where fear and dread rule
Another gripping Pedro Almodóvar mystery, full of vibrant visuals and emotional revelations
The Californian succeeds, once again, in exposing the ugliness of mankind. It’ll get under your skin