Elbow - Build a Rocket Boys!

For most fans the breakthrough success of 2008's "The Seldom Seen Kid" was about time. Of course, the majestic pitch-perfect 'One Day Like This' was their massive asset - coveting mainstream appeal in vehicles such as Big Brother's 'best bits' video, Waterloo Road, The Soloist and Coronation Street amongst others. Their unique brand of safe and cozy stadium rock set them apart from fellow pioneers Coldplay and U2 with their kind of familiar vibe and ability to make the mundane sound magnificent. I've personally liked them since 2005's 'Forget Myself' caught my eye on a generic channel 4 late night music slot, but that's neither here nor there.

So 'Build a Rocket Boys!' will come as a welcome addition to those who liked 2008. I've mulled over it since I got my hands on it on Friday. The 8 minute opener 'The Birds' picks up where their ambition and celebratory sounds left off - a prog-rock opus of harmonic whispers and strings solos that feel like watching a flock of swallows doing tricks. 'Lippy Kids' follows and is already a big fan favourite, a pensive reflection on youth:

Do they know those days are golden?
Build a rocket, boys!

It makes as much out of its own empty noise that most misguided dubstep fans seem to herald - an ocean tide washing up treasures. 'With Love' follows and is an unusual sound; Garvey's vocals occasionally out of tune and by the end rallying against itself in a layered effect. All the while a steady strings rhythm persists with the Hallé Youth Choir providing extra harmony.



Upon hearing 'Neat Little Rows' a few weeks ago I was unconvinced - I thought it would take time to grow and it certainly has. The chorus' hook soaring and all the while supplemented by their tambourine/drum sound. Again, I initially found 'Jesus Is A Rochdale Girl' a little queer, perhaps because of the song title. All soft acoustics it suddenly introduces Brian Enoesque beeps whilst almost lamenting the perils of instant fame.

Romantic silliness is touched upon in 'The Night Will Always Win', repeating "I miss your stupid face" to a tune as tense and earnestly tender as ABBA's 'Fernando'. 'High Ideals' is an unusual blend of orchestration and blues beats, proving one of the album's more rewarding surprises. 'The River' is a little more boring, it has to be said, but is as naturally storytelling as they come.



Elbow are all-barrels-firing in 'Open Arms', where the aforementioned choir are exploited to their most stirring prominence - probably the ripest of pickings for one of your average TV montages - which under any circumstances is as kitsch as it is picturesque. This leans more to the latter. 'The Birds (Reprise)' however is far to the former; employing an older man's vocals (if I didn't know better I'd have said Lou Reed needed a strepsil) for a little bit of self-indulgence that kind of spoils the overall subtle approach. However, 'Dear Friends' more than makes up for that, being all piano melodies and personal tributes that pretty much wraps up the album with a romantic tint.

The critics will complain of a lack of variety; a lack of experimentation. But for once, can't we just celebrate familiarity? It's symphonic, it's beautiful and I'd have it over someone banging some kettles and screeching into a vocoder any day. There are so many moments of untapped beauty in the record, and their signature sound, that it would be a massive shame to change that.

Rating: 8/10
Highlights: Lippy Kids, The Birds, Dear Friends, The Night Will Always Win, High Ideals
Avoid: The Birds (Reprise)