Badly Drawn Boy: Born in the U.K.

Middle of the road Britpop from a former Mercury Prize winning New Brit Hope.

Badly Drawn Boy

Born in the U.K.

Label: Astralwerks
US Release Date: 2006-10-17
UK Release Date: 2006-10-16

Badly Drawn Boy's latest album opens with a peppy spoken-word/soft ballad/national anthem introduction. In the form of a conversation with himself, Damon Gough persuades himself that "there's good things all around, you just have to look longer and harder to see them sometimes". It's a slightly annoying conceit, because it jumps too quickly from self-doubt to quiet prayer to clumsy metaphor. But we can forgive Gough a moment of confusion -- after the critical panning One Plus One Is One received, he scrapped a whole album's worth of tracks with producer Stephen Street (the Smiths, Blur, Kaiser Chiefs), on his way to this new, patriotic, (generally) positive-thinking confusion of love and life, all coloured in lush pop.

Born in the U.K. is produced by Nick Franglen, better known as one of the members of English electronica group Lemon Jelly. His influence is fairly muted on this record, and mainly consists of polishing sounds so smooth they'd fit on the most conservative of easy listening radio stations. But I bet that subtle transformation that comes halfway through "Without a Kiss" was Franglen's idea; the slowing/shifting time introducing a subtle drum machine; and this one effect right at the front of the mix, a small clicking noise -- very Lemon Jelly.

Badly Drawn Boy, now, fits into an easy categorization with Ed Harcourt, promising to provide light, intelligent adult-oriented Britpop. Both artists have battled veering into pop's middle-ground, those overly sentimental, soaring strings and anthemic choruses. What Damon Gough always had going for him, and what made his debut Hour of Bewilderbeast, so compelling, was a kind of scruffy lovable confusion. On songs like "Pissing in the Wind", this is technically manifested in holding each night slightly out of tune. On Born in the U.K. that charming imperfection's been wiped clean, slickly produced out of all character.

The best songs on the album find Gough upbeat and orchestral. Prime example is the first single and title track, "Born in the U.K." Pity it echoes so closely "Born in the 70s", a recent single from Ed Harcourt, in its attempt to capture a social history of modern Britain in song; still, the song hums along at a good clip, and the chorus breezily gets stuck in your head. In a more reflective mood, "Walk You Home Tonight" is pop prettiness -- the swelling strings don’t convey so well, though, the song's subject (the death of a loved one).

But it's not really the instrumentation that makes this album drag. "The Long Way Round", for example, uses a prodigious bag of musical tricks, from subtle dance-rhythms to shifting piano arpeggios to a Flugelhorn, but the song's not memorable because it lacks either a hit-worthy melody or tremendous lyrical insight.

Inoffensiveness and Britpop may go hand in hand, but it's these missing pieces that ensure Born in the U.K. never rises above a mediocre entry into the genre. "Nothing's Gonna Change Your Mind", for example, sounds like a song that would be composed for an episode of American Idol, with a totally expected, soaring chorus, "soulful" vocals, strings in the background, changing to piano for a change of emphasis, and the chorus marked by echoing cymbal hits.

But the biggest disappointment of the album is wasted potential. Gough's already proven a couple of times capable of sophisticated, compelling pop songwriting, so these MOR simplifications hurt doubly. The chorus on "Nothing's Gonna Change Your Mind" poses a really beautiful and romantic idea of dancing in a club with someone, so wrapped up in each other that nobody else is even noticeable; but the song's lyrical and musical vocabulary struggle to express the image eloquently. There's still a kernel of originality and true insight in Badly Drawn Boy, but Damon Gough's going to have to work hard to get back to the spontaneity and true feeling of his past work.




Love in the Time of Coronavirus

I Went on a Jewel Bender in Quarantine. This Is My Report.

It's 2020 and everything sucks right now, so let's all fucking chill and listen to Jewel.


Jess Williamson Reimagines the Occult As Source Power on 'Sorceress'

Folk singer-songwriter, Jess Williamson wants listeners to know magic is not found in tarot cards or mass-produced smudge sticks. Rather, transformative power is deeply personal, thereby locating Sorceress as an indelible conveyor of strength and wisdom.

By the Book

Flight and Return: Kendra Atleework's Memoir, 'Miracle Country'

Although inconsistent as a memoir, Miracle Country is a breathtaking environmental history. Atleework is a shrewd observer and her writing is a gratifying contribution to the desert-literature genre.


Mark Olson and Ingunn Ringvold Celebrate New Album With Performance Video (premiere)

Mark Olson (The Jayhawks) and Ingunn Ringvold share a 20-minute performance video that highlights their new album, Magdalen Accepts the Invitation. "This was an opportunity to perform the new songs and pretend in a way that we were still going on tour because we had been so looking forward to that."


David Grubbs and Taku Unami Collaborate on the Downright Riveting 'Comet Meta'

Comet Meta is a brilliant record full of compositions and moments worthy of their own accord, but what's really enticing is that it's not only by David Grubbs but of him. It's perhaps the most emotive, dream-like, and accomplished piece of Grubbsian experimental post-rock.


On Their 2003 Self-Titled Album, Buzzcocks Donned a Harder Sound and Wore it With Style and Taste

Buzzcocks, the band's fourth album since their return to touring in 1989, changed their sound but retained what made them great in the first place

Reading Pandemics

Chaucer's Plague Tales

In 18 months, the "Great Pestilence" of 1348-49 killed half of England's population, and by 1351 half the population of the world. Chaucer's plague tales reveal the conservative edges of an astonishingly innovative medieval poet.


Country's Jaime Wyatt Gets in Touch With Herself on 'Neon Cross'

Neon Cross is country artist Jaime Wyatt's way of getting in touch with all the emotions she's been going through. But more specifically, it's about accepting both the past and the present and moving on with pride.


Counterbalance 17: Public Enemy - 'It Takes a Nation of Millions to Hold Us Back'

Hip-hop makes its debut on the Big List with Public Enemy’s meaty, beaty manifesto, and all the jealous punks can’t stop the dunk. Counterbalance’s Klinger and Mendelsohn give it a listen.


Sondre Lerche and the Art of Radical Sincerity

"It feels strange to say it", says Norwegian pop artist Sondre Lerche about his ninth studio album, "but this is the perfect time for Patience. I wanted this to be something meaningful in the middle of all that's going on."


How the Template for Modern Combat Journalism Developed

The superbly researched Journalism and the Russo-Japanese War tells readers how Japan pioneered modern techniques of propaganda and censorship in the Russo-Japanese War.


From Horrifying Comedy to Darkly Funny Horror: Bob Clark Films

What if I told you that the director of one of the most heartwarming and beloved Christmas movies of all time is the same director as probably the most terrifying and disturbing yuletide horror films of all time?

Collapse Expand Reviews

Collapse Expand Features
PM Picks
Collapse Expand Pm Picks

© 1999-2020 All rights reserved.
PopMatters is wholly independent, women-owned and operated.