Geordie Greep – ‘The New Sound’ album review: wildly accomplished and utterly absurd
THE SKINNY: There’s no surprise that the debut solo album by former Black Midi frontman Geordie Greep teems with madcap energy and originality. While some people doubted if he could do it alone without his old band, and the wry humour of the lead single ‘Holy, Holy’ dumbfounded listeners, this unrestrained intrepidity has always been his game and a line he has expertly toed. On The New Sound, the Londoner pushes on unrestrained into his future, and it’s almost without fault.
With half of the tracks recorded in Brazil and the others in London, Greep not only follows his established path further on his solo debut, with his distinctive sound remaining, but also evolves it by blending it with the heat-soaked and dynamic rhythms of the sprawling South American nation he captured some of it in. In exploring these two differing environments and marrying them with some sharp compositional masterstrokes, as well as brilliantly black comedy – fantastical deep dives into humanity’s weird and salacious side – he creates a record that is an immersive experience from the onset to the final note. If The League of Gentlemen comedy troupe formed a band in the vein of Steely Dan, you would get something akin to The New Sound.
Of course, the album isn’t for everyone, but neither was Black Midi, a group who made a career out of their ability to divide people with their constantly shifting and, at points, utterly batshit sound. Yet, just like his old group, Greep remains clearly committed to enhancing his craft, drawing on these fresh and welcome areas to create what he explicitly, and somewhat ironically dubs the new sound, an apt title for a young artist who has already achieved much, but is refusing to look back.
In times like ours, fewer artists are taking audacious moves in fear of offending or stoking anathema, but Greep has made it clear that he will do whatever he pleases with The New Sound, which gets nothing but plaudits from me. Perhaps the album could have been a touch shorter, but it’s not very often that we are presented with records that are this singular within modern music.
For fans of: Acid, mushrooms, ketamine and The Emperor’s New Groove, all in a big pile.
A concluding comment from your local indie fan: “I just don’t get it, give me The Courteeners any day, something I can sing along to. Love a big chorus me. This is just nine tunes in one.”
The New Sound track by track
Release Date: October 4th | Producer: Seth Evans | Label: Rough Trade Records
‘Blues’: A creeping, funky rhythm and scrambling guitar line drive this one, which appears stylistically related to Black Midi’s ‘John L’ via the character of the six-string. It’s a tantalising opener, wherein Greep’s vocal performance and surreal lyrics perfectly sit on top of the deeply imaginative music. It also builds to an utterly bonkers climax. [4/5]
‘Terra’: A shuffling beat and sliding six-string introduce us to the second stop, as Greep treats us to more descriptive imagery, which works in tandem with the music and his melismatic delivery to whisk us away from the rain-soaked outside. Heavy flecks of Steely Dan. [4/5]
‘Holy, Holy’: The lead single of the record typifies its madcap energy and themes. An incredibly danceable number featuring a fucky guitar line, searing solos and some of the best lyricism included, here Greep does precisely what he set out to do; astound and bewilder. Some of these lines will make you spit your drink out, and matched by the unrelenting nature of the sonics they create one hell of a ride where you wonder what the fuck just happened when stepping off. [4/5]
‘The New Sound’: I could listen to this number all day. Utterly narcotic, featuring a stellar central motif, it makes for perfect dinner party listening, as well as for afters when everyone’s brains are already sufficiently chemically melted. Imagine if The Durutti Column, Harold Budd and Frank Zappa collaborated. [4/5]
‘Walk Up’: The slightly ominous rhythm and glistening instrumentation on this one once again bring to mind flecks of Steely Dan in the opening moments, before Greep institutes some of his customary hard left turns, and reminds us that this is his world, and in it, nothing is sacred. His lyrics are particularly wry here. Top marks for that bizarro slice of country that’s introduced at the end, too. [4/5]
‘Through a War’: One of the most summery stops on the record, it’s a welcome stop, with Greep juxtaposing pure harmony with dissonance to full effect, as he keeps the listener immersed while floating in and out of darkness and light. Once again, the former Black Midi man tells a hilariously dark story with several wonders buried within. The heady finale is exceptional. [4/5]
‘Bongo Season’: Another slice of melodic splendour married with adroit sonic dissent. Despite being the shortest track on the record, this one keeps this fever dream going. [4/5]
‘Motorbike’: A strong contender for the best cut on the album, with vocal duties this time helmed by producer Seth Evans. Despite the switch in singer, from the onset to the madcap closing seconds, this dynamic feast for the senses has you utterly compelled. There are also some of the album’s most punishing moments contained. As with nearly every cut on the album, some will love it, and some will absolutely detest its deranged but clear vision. [4/5]
‘As If Waltz’: Greep assumes centre stage once more, with a more subdued character kicking things off in this song. It boasts one of the most infectious melodies on The New Sound and cleverly dances in between a dream-like waltz rhythm and a vibrant proggy palette. Perfect for good-humoured stoners. [4/5]
‘The Magician’: The penultimate stop is a stirring microcosm of The New Sound itself. You have no idea where it’s heading when the acoustic chimes ring out initially, and Greep delivers a sincere vocal performance, surrounded by equally toasty music, which gets increasingly accomplished as it pushes on. [4/5]
‘If You Are But a Dream’: A highly expressive closing track, wherein Greep takes us into a smoke-filled backroom at a speakeasy, he cleverly brings the curtain down on the strange fantasy that has been The New Sound, helped on my glistening keys and wailing brass. [4/5]
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