As I write this, there are fireworks detonating in every corner of the sky. It’s a Saturday night, and it’s the third of November. But instead of paying a small fortune to freeze my tits off watching gunpowder sizzling, I’ve elected to stay in and listen to CDs. Same as every other night, then.
It seems fitting that I should be listening to Flipron’s new album which bears the title ‘Firework Shoes’ and is out on November 5th. Coincidence? I think not.
The Glastonbury foursome seem to be pretty well connected. First off, lead single ‘The Comet Returns’ featured Neville Staple of Specials legend. The album’s produced by Rat Scabies, who also produced their previous album, and who also steps up to percussion duties on several tracks, as well as featuring renowned producer David M Allen who also chips in, contributing ‘handclap orchestra’ on ‘Big Fat Blackberries’ – which happens to sound like The Stranglers on acid.
But it’s not about the name-dropping, and I’d wager these names have been drawn to the band because they’re not only different, but also good, both technically and – more importantly – creatively. It might seem a contradiction, but on ‘Firework Shoes’, Flipron create a distinctive sound and create a veritable patchwork when it comes to styles, drawing on – and inviting – a vast array of different references and comparisons.
|
The theatricality of the opener ‘Back Where we Started Again’ is reminiscent of David Devant & his Spirit Wife, while ‘The King of All Out Crimes’ has a classic cabaret swing to it. Elsewhere, ‘Until it Gets Light’ proves they’re most capable of chucking out a catchy chorus when the mood takes. The dub-surf of ‘The Comet Returns’ nips off on a tangent midway through the album, and ‘Low-Life Seeking Elevation’ brings a glammy stomp to proceedings. Yeah, you get the idea. Bt rather than being a mix and (mis)match mess, ‘Firework Shoes’ is – dare I say it – explosive and dazzling (and infinitely preferable to crocodile shoes any day).
Flipron Online
|
