Pregoblin – ‘Pregoblin II’ album review: our outsider artist arrives
THE SKINNY: After what seems like an age, Alex Sebley finally releases the debut Pregoblin album. Aptly titled Pregoblin II, following five years of singles, it’s an oscillating journey that showcases the musician’s incredible grasp of songwriting and expansive reach as an artist. A resonant sonic statement, whereby Sebley casts off the manacles of the past and marks a new chapter, he’s pushed back in style.
While there are flecks of the pulsating pop palettes that made Pregoblin such a celebrated force a few years ago, Sebley is returning to what he knows best. 1970s-leaning, often dark character-based songs prop this body of work up, with his surreal and deeply visual songwriting style keeping us fixated throughout the sonic shifts.
To add to the party, the influential Armand Schaubroeck appears, as does Sebley’s old bandmate Jessica Winter and label boss Peter Doherty, who assist the Portsmouth native in establishing who he really is as an artist, with the lyrics often toeing the line between candour and opaque black comedy. Following the curtain coming down on what is a truly accomplished body of work, despite the broad reach on display, you might say that Sebley is the outsider artist of our era, deserving of so many more plaudits, but, ironically, it’s something you get the sense he would be uncomfortable hearing.
A distillation of Alexander Sebley, the man and artist, Pregoblin II dispels the spectre of the past and all its trauma and revitalises the project, opening it up to a future constructed in a way that is befitting of its leader. I just hope the songwriter makes good on this foundation moving forward.
For Fans Of: Wistful ballads, pure rock ‘n’ roll, and a life lived on the edge.
A concluding comment from the smoking area: “I really hope this lad’s OK. It sounds like he’s got a lot on his mind. One thing I’ve learned in my time is that positivity is key. You got any filters, by the way?”
Pregoblin II track by track:
Release Date: February 23rd | Producer: Various | Label: Strap Originals
‘Big Hitters (Featuring Armand Schaubroeck)’: The glam rock-evoking bends give way to a slow, almost ballad-like pulse. The piano and Sebley’s whiskey-drenched vocals are a potent pairing that has us transfixed before the beat even comes in. Somewhat regretful and, in other parts, uplifting, this one leaves a mark and symbolises everything exemplary about Pregoblin. [4.5/5]
‘Roma’: Another distillation of Sebley’s exceptional grasp on songwriting, ‘Roma’ is one of the record’s highlights. Bringing to mind the 1970s, a decade which clearly had a big impact on the musician, but fusing it with dots of the modern age, from the warm bassline to the theatrical, slightly unsettling final section, there’s a lot to love about this stoned anthem. It would have been perfect for the soundtrack of Licorice Pizza. [4/5]
‘Everybody’s Ill (At The Moment) Part 1’: A cut brimming with Sebley’s character and distinctive creative vision, the first part of this composition is a twisting tale with a virtually vaudevillian feel. Somewhat psychedelic, comedic and dark, by only the third track in, it’s clear that the Pregoblin leader is a songwriter needing much more reverence. [4/5]
‘Everybody’s Ill (At The Moment) Part 2’: Opening with the soulful reprise of the chorus, it segues into one of the most arresting rhythms found on Pregoblin II, a blend of authentic soul and funk, with a prominent bassline, fiendish guitar licks and a firm beat. The juxtaposition between the music and comedic lyrics makes for a treat. It’s a guaranteed floor filler. [4.5/5]
‘Moving On’: A bluer number, beginning with the familiar chime of the piano that’s melodically related to that of Bill Withers’ ‘Lean on Me’. Understandably, that aspect, the claps accentuating the beat and soulful backing vocals, prompts ample reflection. Sebley’s deep vocals and lyrics are again a fascinating pairing, with his intoxicated crooning leading us on this emotive journey. [4/5]
‘Nobody Likes Me (ft Jessica Winter)’: As we hit the midpoint, Sebley drops the single ‘Nobody Likes Me’. Another blend of vintage influences with a contemporary context, boasting surreal lyrics that touch on a host of ridiculous names that hate the singer, whether it be the inescapable chorus or the blaring synths in the final third, it might be older Pregoblin from their more accessible, pop-leaning days, but it’s still a welcome treat. This is a classic in the waiting. [5/5]
‘Make Luv (I like To Party)’: Alex Sebley loves to cover music. A deliberately weird and off-kilter version of Room 5’s 2003 dance hit, complete with a vocoder, while it might not appear immediately relevant, it is. It showcases Sebley’s comprehensive range. [3/5]
‘Alpha Business’: A contender for the finest track on the album. A country number, fuelled by the expressive lap steel, finger-picked acoustic and shaker, it’s another effort that immediately sucks you in, as Sebley’s regretful performance is placed front and centre. A moment of pure artistic beauty. [5/5]
‘These Hands AKA Danny Knife (ft Peter Doherty)’: This more upbeat rock effort sees the two vocalists dovetail, bringing to life a fictional tale about indie rock archetypes. The chorus line of “These hands / These terrible hands” is a perfect hook and a brilliant way to lift out of the straighter verses. [4.5/5]
‘Sort It Out Down There’: Perhaps the most swarthy rock track on Pregoblin II, the convergence of the frontman’s gritty vocals, the bluesy riff and droning brass is a compelling surprise. I’d like to see him explore this punk-leaning side of the band more in the future, now that he’s cast off the shackles of the pop of their early chapter. [4.5/5]
‘Wimpy (Album Version)’: “Let me tell you something about myself”, this track abruptly opens. Sebley tells us he’s seen many girls come and go, with a comedic noise added to heighten the innuendo. The lyrics combine with the lo-fi beat and slacker guitar tone to create a stoned-in-the-park summer vibe, complete with typically neurotic lyrics. [4/5]
‘Two Kinds Of Music’: Sebley’s voice is particularly Americanised here, augmented by the overall essence of the music. An example of the frontman’s penchant for catchy but off-kilter songs leaves me wondering how impactful his work would be if he wrote a standard set of compositions that play by the set rules. Most likely, the stars would come knocking. [4/5]
‘Big Hitters (Reprise) Ballad Version’: A piano-led recap of the opener; here, Sebley’s vocal delivery is more expressive than anywhere else on the record. The sentiment is driven home, with the words “illusive” and “ever-changing” taking on a different meaning vis-à-vis the vocalist despite the clearly sardonic and outward angle. [4/5]
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