The fourth album from experimental indie supergroup Githead is more surprisingly melodic post-punk and rich, sunny instrumentation. Robin Rimbaud AKA Scanner mixes his experimental tendencies with the skills of Colin Newman from Wire and Malka Spigel and Max Franken of Minimal Compact. Improvised music has never sounded so immediate and memorable.
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Sheesh...the lengths we go to to get a review on the site. I hope you appreciate it Githead. Typing as I am on a 1980’s computer in a freezing cold warehouse, I’m not sure if I’m in the right place to enjoy this unlikely collaboration between the guy from Wire, the guy from Scanner and two people from Minimal Compact. You’d think from that line up that this was some kind of impossi-listen but what we have is dark 80’s sounding pop that on opening track ‘Not Coming Down’ reminds me of both the Cocteau Twins and Wire’s mid 80’s period where they got all melodic and tuneful on our ass.
The simple vocal lines matched with faintly shoegaze guitars has a hint of reformed old guys Ride about it. The tunefulness continues on ‘Bringing The Sea to the City’ which is pretty much the last things you’d expect these guys to do -its sweet and tuneful and reminds me of the German electronic pop of Lali Puna and the Notwist. I really, really like this track and its gorgeous lush pop. ‘To Somewhere’ makes me worry that they’ve put all their eggs in one basket with those first two tracks, a forgettable bit of kraut drone. The folkily electronic ‘For the Place We’re In’ gets things back on track somewhat, its like Jethro Tull collaborating with the Cure.
The album has a laid back sound which at times drifts towards the inconsequential, it's nothing less than pleasant though the Verve like treated guitars grate a bit and like some of Wire’s work it sounds a bit robotic at times and a bit more oomph wouldn’t go amiss. However, if you like Wire’s mid 80’s period there are some pretty sweet moments before everything fizzles out into a motorik haze.
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