It’s hard to decide what to make of the cover. The picture, coupled with the artist’s bio, which informs us that Mr Grey has been making ‘experimental yet highly emotional music since 2002’ essentially screams ‘ponce’, but then closer inspection reveals grey’s collaborated with a broad range of artists from Matyn Bates (Eyeless in Gaza) to beat poet and Warhol acolyte Gerard Malanga, via Kris Force, known for his work with Amber Asylum and Swans. It doesn’t mean ‘You Mine Again’ won’t be poncey, but suggests Grey’s got some creditably and substance.
The album itself is something of a rollercoaster ride, and it’s Big! Bold! Flamboyant! Emotionally charged! Oh yes....
The title track opens the curtains on the album in a flamboyant and melodramatic style, like an orchestral Alex Harvey on E. Indie dancehall disco with shimmering electronics provides the sonic backdrop to Grey’s swooning narrative on ‘My Love Affair With Might’. It’s an interesting slant on the 80s vibe, landing somewhere between Steve Miller and Army of Lovers. Quirky and theatrical, Grey runs the gamut of emotions across a pulsating eurodisco backing augmented with the absolute works . There’s a hint of Marc Almond about ‘Heart of the Glacier’, a downbeat Parisian edge to ‘Structure & Faith’ and the amusingly-titled ‘Wounded, Yet Feudal’ sees Grey turn in a Bowiesque performance against a gently chiming guitar.
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‘The Wasp Lover’ and ‘In The Ravine’ flutter into spacious dream pop territory, while ‘Death of the Dogman’ is a drawling country epic with some suitably off-kilter lyrics and a rambling monologue about palindromes.
‘Enchentée’ concludes the album by typically sounding completely unlike any other track on the album, a serenade sung in French, not by Grey but by guest vocalist Sarah Maison.
A bit crazy, a bit overblown and at times a bit much, the one thing ‘You’re Mine Again’ doesn’t lack is panache. Equally, it’s not lacking in drama or variety.
Nick Grey Online
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