Okay. The helium Tindersticks are back with another future lost classic.

This is their third album, and the second to recieve proper release. I have to say that it’s their best to, and not just because they drove a vanfull of cash up to my house.

Let’s go track by track:

PART 1
PRINCE OF DISCONTENT
Starts with a trippy backwards beginning, and then launches full into something that wouldn’t be out of place on Primal Scream’s last album Riot City Blues, complete with glam stomp drums and Jumping Jack Flash riffing.

PERFECT TIME TO DIE
Okay. In the same vein as the last one. A plodding riff and drums, vocals sneering vague threats, but here there’s a few added trumpet sounds and embellishments.

HOOKED
This one’s left over from the lost album. A nice enough little piano ballad with slide guitar and obviously piano. The bass is very restrained on this one, listening to it with the hope on the next one it gets looser.

SCREAM
Nice plodding bass intro. There’s a video to this song with Patrick Swayze on fire somewhere. This song is like Arcade Fire minus the imagination, but the organ and bass are nice enough.

BARRET
I really like this one. A cynical cash in on his death, you’d think, as it was recorded last year (not today). However, there’s very little about him in the lyrics. Has some bass led verses that sound a bit like Billy Jean covered by Guided By Voices, and is coated in static all the way through. Has a fist pumping chorus in the vein of Aquiesece by Oasis.
Ends with weird humming noises.

ARTHOUSE GANG
I really like this one, as well. The album seems to have hit it’s stride towards the end of part 1. This has some stompy drums, alternately wailing and chugging guitars and nice little sonic touches all in the background. Lyrics delivered in usual blank sneer about some pretentious people (so me included there then). Jeff Parr excels himself on this one with the guitars.

THAT’S MY LAW
YES! THIS ONE IS A FUTURE CLASSIC! The indie My Way. Not only does it have great lyrics that verge on being optimistic, but it’s wonderfully orchestrated, with a shuffly drum beat, strings and lovely pianos. Parr and Oates have excelled themselves here, it’s almost as good as any of there mid 80’s hits like that one De La Soul sampled. Ends with the sudden appearance of a sitar, launching us into.

BLANK LETTER
Another drum beat. A bass line reminiscent of Dr Buck’s Letter by The Fall. An alternate mix of a track of the House Of Sin album, with added Farsifa organ.

PART 2

THESE BOOTS ARE MADE FOR STALKING
This one is a stroke of genius in my opinion. Start the second half of the album with a song which the chorus is “I’m such a motherfucking motherfucking crazy guy/I’m such a motherfucking motherfucking crazy guy”.
It’s a nice enough song, with plastic organ and a bass line straight off Transformer.

BROKEN
Into another song that sounds desperate. This one is better suited to Johnny Cash, if he was still alive. It’s just vocals, keyboards, guitar and what sounds like a zither. Each line spells out broken. This guy can’t spell.

VELVET MIND
This one’s very, erm, psychedelic. That seems to be what they want us to think, with all the organ, trippy metaphors and sudden rushes of drums. Remember on The Simpsons when it showed Bob Hope impersonating a hippy?

BEHOLDEN
Very Julian Cope. Just guitar, bass and vocals. It’s another nice song, that has some nice circular guitar motif all the way through it. Lord I need to get a life.

HOME IS WHERE THE BOOZE IS
This one has ace lyrics, a Peter Hook sort of bass line and appaling sound quality, where it suddenly gets louder in the middle. Maybe it’s intentional? I love the line “Sing my almer mata just like Frank Sinatra” whatever the hell it means. Answers on a postcard.

HOW TO BE DUMB
Starts with throbbing bass that sounds like what it is, throbbing bass. Vocals delivered through fog, with door slightly ajar. Gradually in creeps percussion, and some increasingly something somethings. Then it goes into a choir bit, then some insane child rants about cartoon punk songs and it goes back to normal, then ends with a long instrumental thing. GROOVY DUDES!

BROOK STREET
About a street in St Helens. This is their best pop song, full of springy guitars, upbeat vocals, nice drumming and Morrissey like singing in the outro.

SET YOUR HEART TO THE SUN
OKAY! MY FAVOURITE! The bass is very, very heavy and plodding in a wonderful way. The guitars screech like lawnmowers filled with very nasal bees. Imagine a bee with Woody Allen’s voice in a lawnmower. That’s the guitar sound. Bemused sounding drumming. Minimal lyrics. Short and ends suddenly. That’s how I like my punk-pop.

SPIRIT OF CHRISTMAS
A reverb soaked slab of guitar, harmonica and mournful bass. Lyrics about some form or rebirth. I get it. This is a concept album, you can read it like this. It charts a mid life crisis, ending in acceptance. Maybe not. Just my interpretation.

If you don’t like this album, I don’t like you.