Music

Bombay Bicycle Club: So Long, See You Tomorrow

The London based indie-rockers try their hands at more psychedelic sounds and end up with a hand full of winners.


Bombay Bicycle Club

So Long, See You Tomorrow

Label: Vagrant
US Release Date: 2014-02-04
UK Release Date: 2014-02-04
Amazon
iTunes

Bombay Bicycle Club has never been a band to stand still. They’ve experimented with their sound on every album, from the blues influenced I Had the Blues but I Shook Them Loose to the folk infused Flaws. Though their newest album has a lot in common with their third record, A Different Kind of Fix, So Long See You Tomorrow has the band playing with a more psychedelic and polished sound. There are a few songs to avoid here, but So Long has enough instant winners to make it another solid album in Bombay Bicycle Club’s collection.

The first two singles from So Long made Bombay Bicycle Club’s shift to more vibrant sounds apparent. “Luna” was the second single released and is easily the best song on the album. Lifted by gorgeous vocals from UK-based Rae Morris, the song has a tendency to explode in brilliant ways. Just before the first chorus kicks in, Morris’ voice skyrockets, and, when the chorus comes again, Ed Nash’s pounding bass overtakes the lower end. “Carry Me”, the album’s first single, unfortunately comes off as a little too campy with frontman Jack Steadman employing some cringe worthy low register singing. It’s a shame as some of the quitter moments on “Carry Me” reveal some bouncy and catchy keyboard work.

The reaction to “Carry Me” holds over for a good portion of the album. Excellent ideas and segments of music are here, only to be covered up by fluff. “Come To” feels like classic Oasis at its start only to devolve into subpar 80s synth-pop and the chants of “Wherever you want it” are sickly sweet on “Whenever Wherever” and the song’s closing is a reminder of fellow slightly sappy English group Keane.

The rest of the tracks here fall between the two ends of the spectrum, mostly landing on the solid side, thankfully. The string section on opener “Overdone” seems to have been cut from a Rodgers and Hammerstein musical and it works surprisingly well with the song’s sexy strut. “Home By Now” is more R&B than indie, with sampled piano and guitar working their way through a soul filled duet. “Feel” is probably the most adventurous song here as it takes Bollywood influences and scatters them across a slow burning groove.

So Long’s major strength is found in its production. Steadman helmed the production here with mixing and engineering done by Mark Rankin, who worked on Adele’s 21, Florence and the Machine’s Ceremonials… Like Clockwork. These two work fantastically together, even on So Long’s subpar tracks there are some audiophile worthy moments. A majority of these songs don’t shy away from excess and it’s a small wonder that every part of a song like “Luna” can be picked out and studied.

If So Long is an indication of anything, it’s that Bombay Bicycle Club still haven’t found their sound. And this is one of those rare times where that isn’t necessarily a bad thing. Bombay Bicycle Club seems to be content with genre hoping on each of their releases, and perhaps it won’t make for any one great album, but it makes for an entertaining discography.

6

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Keep reading... Show less

Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.

Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"

Keep reading... Show less

Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.

It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.

Keep reading... Show less
3

A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.

When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.

Keep reading... Show less
9

Frank Miller locates our tragedy and warps it into his own brutal beauty.

In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image