Their seventh album finds the London indie veterans dusting their melancholy songs with hope and loveable melodies, each a compelling tale in its own right. This is literate, gentle rock in the vein of The Go-Betweens or Belle & Sebastian, with jangling guitars and strings making hazy summer soundtracks of 'The Last Love Letter' and 'Sixteen Oh Four', but on 'Breaking Open The Head Part 1' and '(All The) Avenue Girls', the band launch into the kind of berserk psych-pop peddled by the Television Personalities or, more recently, MGMT. They're brief, catchy brainstorms on a lovely record that tells its small stories with grace and care.
Even with Feck's vocals sounding smoother than ever, the production cleaner than ever, and the songs decorated with weeping violin sections, his words and delivery bleed sincerity and pain. Sometimes it drips (like on the late-night weeper "Wait 'Til December"), sometimes it flows (the achingly blue "An Orchid Stuck Inside Her Throat"), but it always sounds real, and it always hits hard right where it counts. The band rises to the occasion on these with lots of lovely folk-rock jangle and dramatic swells, even crafting a song that should/could be a hit single with "Sad Love and Other Short Stories." On the flip side of the equation, there are some fine uptempo tracks to balance the melancholy, especially the rollicking "(All The) Avenue Girls" and the Rachel Evans-sung charmer "Behind the House She Lived In." The album ends on the guitar-heavy "Confessions of a Daydream," which features some confounding lyrics, a guest appearance by the Yummy Fur's John McKeown, and an epic feel that's also something different for the band. All the new bits here and there, and the slightly altered course, help to make Paperback Ghosts the most accessible Comet Gain record yet, without compromising any of the burning passion that has made them so important to their loyal fans. Here's to another 22 years of brilliant albums!
Auch auf ihrem siebten Album glänzt die britische Band mit zeitlos schöner Popmusik, die in ihren zartesten, Streicher-verzierten Momenten auf die herbstliche Romantik der Go-Betweens und Dexy´s Midnight Runners verweist und bei den Uptempo-Songs die Lo-Fi-Aufmüpfigkeit der Swell Maps und Television Personalities in Erinnerung ruft. Gleichzeitig offenbart sie nicht nur wegen satter Orgelbegleitung ein Faible für die sanft psychedelisch umspülte Musik der 60s, die einst bereits all die genannten Bands inspirierte. Ein echtes Qualitätsprodukt ohne Verfallsdatum aus dem Hause Fortuna Pop.