In a world of lurid acrylics and formaldehyde calves, Black September are turning atmospheric watercolours out into the open with the full approval of Hebden Bridge's idealistic independents Pomona Sounds. There is some brash poster paint scattered around in "Heron High" and flecks of a metallic finish here and there. But for the most part we have wistfulness and modest instrumentation that amounts to a subdued colour wash of rust and dry grass tones.
The detail is suggested rather than drawn. Many of the lyrics evoke general emotional discomfort, leaving the listener to supply the names, faces and locations. Not a dumb move at all. "Too Many Tears" is a good example. It has a brooding menace with global reach, and personal anxiety about locking up the self against "too many people in the world". These are shadows and risks that just might connect on your channel. "you know the reason that it's happening again" John Matthews sings. To who? About what? What is the reason? I'm worried for us all.
The exceptional track of the dozen on offer is "Why Are Churches Shaped Like Rockets?" with the sampled voice (flirtations with computer implants recur in a couple of other intros) of a young American deriding the prophet and damning the spiritual life. I'm reminded of LIFT TO EXPERIENCE and their Jerusalem Texas Crossroads themes (if not their wild flights of guitar insanity). BLACK SEPTEMBER'S trail is less explosive, but it is similarly half hinged. The bulk of the rest are guitar bass and drums with a light touch and a maybe GORKY-like feel. Opener "Time to Leave" has a rolling pastoral melody with a nearly acoustic band.
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John Matthews has the kind of voice you'd be more likely expect from a guitarist. It has a reluctant breathy quality that many will find personal and engaging. The blemishes of wayward pitch and power are maybe more "standard indie" than "endearing character", and you reviewer confesses to one or two wincing moments.
On the track-listing down-side there's a rather clunky version of DAVID BOWIE'S less-than-classic "Be My Wife" and an enthusiastic Sigur Ros-tinged non-metal version of BLACK SABBATH'S "Changes" The second of these covers closes the album. It’s a strange choice, being such a departure from the rest of the album, and it does leave the appreciation of BLACK SEPTEMBER'S ungainly gentleness a wee bit messed-up.
All power to Pomona, though, for encouraging the band to do what they want, and backing them up with this second album release.
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