ALBUM REVIEW: Johnny Foreigner – Grace And The Bigger Picture
Words: Gareth O’Malley
Difficult second album? Pfft. As if. The Birmingham noise-pop trio seem as though they had an absolute whale of a time recording this. ‘Grace And The Bigger Picture’, in the words of the band (Alexei Berrow, Kelly Southern and Junior Elvis Washington Laidley – guitarist, bassist and drummer respectively) themselves, is ‘a ‘band on tour’ album’; each of the record’s fifteen tracks were written whilst on the road, supporting last year’s debut full-length, the stunning ‘Waited Up Til It Was Light’.
This is reflected in the subject matter too. Whereas ‘Waited Up’ was all about Birmingham itself, ‘Bigger Picture’ is very much about the band’s experiences on tour last year. It certainly sounds like a more ‘mature’ record. However, those of you who are expecting a completely different band to the Johnny Foreigner of 2008 should stop reading now: the band have definitely moved on, yet at the same time still sound like themselves. In other words, it is a natural progression from the debut.
The thing that strikes you most about this album is how much there is on there. Some would look at the tracklist and say, “Fifteen tracks? Fuck this, too long.” Au contraire. ‘Grace And The Bigger Picture’ epitomises brevity. Bar two tracks, the album is comprised of sub-two minute songs. Not much room to get bored on here, then.
Things get off to a suitably frantic start with the opening combo of ‘Choose Yr Side And Shut Up!’ and ‘Security To The Promenade’. The former begins with a cry of ‘And it starts like this‘, before an excellent riff comes in, heralding a simple yet astoundingly effective opener: two choruses, two verses, solo, all in less than two minutes. The latter shows us that lyricist Alexei has definitely not lost his touch: ‘Let this burn itself out / We’ll all stay warm somehow‘. It also features some vocal interplay between Kelly and Junior, and, memorably, seems to come screeching to an abrupt halt, before a reprise of the main riff ushers in the final chorus.
There are quieter moments here too, ones that allow the listener to take a breather. ‘Bigger Picture’ is quite a chaotic listen, and barely ever lets up. When it does, however, we get some memorable softer moments, like ‘I’llchoosemysideandshutup, alright’, an almost ballad-like song. We also get ‘(Graces)’. Note the brackets; it seems that the band intended this to be an interlude of some sort. It runs for just 40 seconds, and is the closest the record gets to a fully acoustic song, like ‘DJs Get Doubts’ off the debut. This is quite a shame, as ‘(Graces)’ is one of the standout tracks here. It features some standout lyrics too (‘Trading heartbreak for sentiment, like paying the rent’).
This is very much the complete package: we have the uptempo songs that the band are best known for (like current single ‘Criminals’, ‘Dark Harbourzz’ and ‘Ghost The Festivals’), and more reflective moments, as well as some new elements thrown in, like the counterparts of ‘More Heart, Less Tongue’ – quite clearly about touring (‘So London might as well be Glasgow / Might as well be Tokyo, or any place, we’re almost leaving’) - and ‘More Tongue, Less Heart’ – an instrumental.
One thing about Johnny Foreigner has definitely remained the same, however, and it’s this: they really do know how to close an album. ‘The Coast Was Always Clear’ is, quite simply, sensational, on a par with, or even better than, ‘Absolute Balance’. There are many good riffs to be found on ‘Bigger Picture’, but the one that opens proceedings on ‘Coast’ will ensure that the song will go down as a classic amongst fans. Boasting one of the strongest climaxes of any song this year, it ends in suitably chaotic fashion, the call of ‘Some summers! Some summers!‘ (an extremely well-executed reprise of lead single ‘Feels Like Summer’’s hook), bringing the curtain down on what may just be the band’s finest song to date.
The album is just shy of 36 minutes long. Johnny Foreigner say so much, in so little time. Their melody-writing has definitely improved. And once again: ‘The Coast Was Always Clear’ is nothing short of sensational. It really needs to be heard to be believed. ‘Waited Up Til It Was Light’ was a collection of songs; ‘Grace And The Bigger Picture’ feels like a proper album. The band went into the sessions with a concept, and it’s strengthened the cohesion exponentially.
In other words: This is a truly wonderful record.
9.7
mp3: (Graces)
words: Jamie Milton
If we are to believe claims from the band itself, Johnny Foreigner might be in the brink of releasing their last album. Financial meltdown could prompt it. Said meltdown could be prompted by the leaking of their albums. Now I’m sure many of you reading this will have inevitably got your hands on ‘Grace and the Bigger Picture‘ upon its leaking. This review is based on what we’ve heard from a promo copy, not a transcode leak. All the same, if you’re to buy one record this year, even be it out of pure sympathy and slight worry, buy ‘Grace and the Bigger Picture’. It has a lot going for it, you know…
What might seem a chaotic, mindless rout at first eventually reveals a more considered routine. Its purpose is to be obnoxious, provocative, from the “aaand it starts like!:” opening on ‘Choose Yr Side And Shut Up!‘ to the excruciating ‘Kingston Called, They Want Their Lost Youth Back‘ , this record prides itself on making you squeamish before eventually enjoying the ride. There’s a communal spirit, a sense of inclusion when listening to it, as if you’re stepping into a house party that consists of a close-knit group of friends you’ve never met before. Trying to get their in-jokes, attempting to be on the same wavelength, Johnny Foreigner have a frighteningly loyal stance towards the scene, the upbringing, the whole band image and prophecy.
Anyone who couldn’t get into debut ‘Waited Up ‘Til It Was Light‘ should steer well clear of this. It’s a more audacious, experimental collection of songs, interlocking gruesome bass notes with squeal-pitched synths. It all ultimately relies upon a fantastic, timeless riff, the most notable arriving in ‘The Coast Was Always Clear‘, the damn finest closer to an album for some time.
—————————————————–
3 recommended tracks:
‘Criminals’ - Streamlined but brutal pop-punk, what you’d expect. (mp3)
‘Every Cloakroom Ever’ - similar to ‘Salt, Peppa & Spinderella’ in starting minimal before combusting into frenzied chants.
‘The Coast Was Always Clear’ – Featuring the kind of joyous, tight guitar parts that sat so neatly on the debut, this epic closing to the record is the stand-out moment – giving every ounce of passion remaining before reluctantly giving up.
EP REVIEW: Johnny Foreigner – Feels Like Summer
Words: Gareth O’Malley
Who says that the best things in life aren’t free? Johnny Foreigner would have you think that they most definitely are. The Birmingham three-piece (that’s guitarist Alexei Berrow, drummer Junior Elvis Washington Laidley and bassist Kelly Southern, right) made this EP available through their website a few weeks ago, for nothing. Zip. Zilch. Nada. That is a pretty sweet deal, from where I’m standing. It helps, too, that it is an absolute gem.
The three-song EP opens with its title-track, which we heaped praise upon a few months back. Its position as the most immediate thing the band have written to date still stands, in this reviewer’s opinion. But what of the two new tracks? Well, actually, one of them is only sort of new. ‘Camp Kelly Calm’ was the flipside to debut single ‘Sometimes In The Bullring’, released way back when in 2006. It’s nice to see old demos resurrected and given some studio polish, and a makeover has really benefited the song. Alexei Berrow delivers some absolutely fantastic lines, such as, ‘You said, “See, I’m not just a pretty face” / And how you’re wrong! You’re not, you’re not even pretty!’ and, ‘Don’t care, you’re a fool, and I’m stealing your words / Like an AK-47 in a nightclub full of handguns’. One thing about Alexei is that he has an astonishing turn of phrase, but then you knew that already, of course – ‘Hot girls know the words to our songs, and I’m terrified of what comes next’ – that’s from ‘Yr All Just Jealous’ off last year’s debut record, ‘Waited Up ‘Til It Was Light’. Usual quality of lyrics from him, then.
What is new, though, is that JoFo’s hook-writing ability has definitely improved. ‘Wow. Just Wow’ is a perfect example of this, a song that shows how far the band have come in the three years the current line-up have been together. The track is driven by excellent drumming from Junior, and reaches a high-point midway through the song, as Kelly takes vocals. Her impassioned cry of ‘You have gone deaf!’ wraps things up in style, as the EP is brought to an abrupt halt. All this is achieved in just under seven minutes. Take that, Tokyo Police Club.
I figure I may as well put the whole thing up here, as I really can’t choose a favourite track. The three tracks are every bit as good as each other.
The album is preceded by new song ‘Criminals’ on Monday October 12th. It’s called ‘Grace And The Bigger Picture’. It’s out on October 26th. Get excited.
9.3
Feels Like Summer [alt]
Camp Kelly Calm [alt]
Wow. Just Wow [alt]
MFM @ HYPEM
