The past is a foreign country, they do things differently there. Or so the old cliche goes. In the case of TINDERSTICKS' frontman Stuart Staples, though, the past belongs to a different country entirely, for since his legendarily morose band released their last LP proper (2002's 'Waiting For The Moon') he's relocated to rural France from London and many (me included) thought this move may have signalled the end of the band for good.
Thankfully, after a five-year hiatus, these fears have proved unfounded, although it's true that the recent past has certainly re-aligned things, for the Tindersticks of 'The Hungry Saw' are not quite the Tindersticks of 'Waiting For The Moon'. For starters, only three of the original six 'Sticks remain in the fold (Staples, plus guitarist Neil Fraser and lynchpin pianist/ keyboard maestro David Boulter), a new rhythm section has been installed (bassist Dan McKinna and drummer Tim Belhom) and most of the new album has been recorded at Staples' French studio Le Chien Chanceux instead of the band's traditional London locations.
The time apart has clearly proved beneficial for all concerned, however, as 'The Hungry Saw' is both an excellent return to form and often even good enough to give the band's classic early albums a run for their money. Mind you, it's also true to say at this juncture that while the breather may have re-invigorated all concerned (and it sounds like it has) we shouldn't read this to mean that 'The Hungry Saw' represents a huge stylistic shift of emphasis. It doesn't mean there's a sudden desire to explore a previously hidden trip-hop dimension or any such nonsense. It's still instantly recognisable as a Tindersticks record in the classic tradition but when you hear what it's got to offer you'll be very glad that's the case.
Indeed, the main differences to these ears are discreet, but important. Firstly, there's more space given to the musicians these days. Yes, long-term trumpet/ brass arranger Terry Edwards and the enigmatic string arranger Lucy (no surname provided) collaborate as expected, but often the strings are of the lone violin or discreet string quartet variety rather than huge string sections while the brass arrangements are sharp and biting and the core band themselves have more room to breathe. Belhom and McKinna are an excellent rhythm section and bring a new fluidity to the overall sound and Neil Fraser especially benefits from the opportunity to stamp his personality on the surroundings, adding everything from choppy Steve Cropper-style economy to 'Yesterdays Tomorrows' through to the vibrato parts he supplies to the memorable instrumental 'E-Type' and the way he descriptively supports Staples' vocal on the closing 'The Turns We Took'.
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Secondly, the more relaxed approach ensures that the band's often totally overlooked sense of humour can rise to the surface unhindered when it so desires, not least on the warped and playful rumble of the title track which features a joyously perky melody (yes really!) and sardonic references to everything from drugs and temptation ("a gramme of speed and a one-night stand/ I left my baby in the devil's hands") to, er, Simon & Garfunkel ("hello darkness, my old friend") along the way. The gentle perversity that once led them to name a song 'Piano Song' when the track had no keyboards remains intact too: this time in the shape of an instrumental called 'The Organist Entertains' which is predominantly based around piano and strings. Very funny, lads.
There again, this isn't to say the intensity of yore has vanished either, mind, for 'The Hungry Saw' also features a clutch of the Tindersticks' most transcendent moments to date, not least the deep brown, piano and bass-led waltz that is the understated 'Come Feel The Sun' or the emotional storms that batter the gorgeous swell of 'The Other Side Of The World'. Elsewhere, a lovely lightness of touch prevails and offers up a couple of their prettiest songs to date courtesy of the sunkissed tenderness of 'The Flicker Of A Little Girl' and the exquisite soulfulness of 'The Turns We Took', which - if I may be so bold - has more than a touch of autobiography about it as well as providing the patiently perfect ending to the album.
So it's a pleasure to be able to welcome this newly-invigorated Tindersticks back to the fray. Yes, a few subtle changes have been made, but without doubt for the greater good. 'The Hungry Saw' cuts clean and true and makes it plain that Stuart Staples and co. have it in them to aim straight for our hearts once again.
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