Fine record though it was, a shadow inevitably hung over CROWDED HOUSE'S 'comeback' album, 2006's 'Time On Earth'. Long-time drummer Paul Hester tragically took his life the year before and it's well-documented that he was the person who'd been keen to get the Crowdies back together for the longest time.
Consequently, it was a bitter-sweet treat for fans to have Crowded House back in business, but songs like 'English Trees' and 'She Called' ably demonstrated that Neil Finn still figured among the world's best song-writers. When the band initially split after their emotional farewell show outside Sydney Opera House in 1996, bassist Nick Seymour stated he felt the band had another great record in them and it turned out he wasn't wrong. But, four years on, can the re-animated Crowded House keep the momentum going now the fanfare has died down a little?
New album 'Intriguer' suggests the answer is a resounding 'Yes'. It finds Finn, Seymour and Mark Hart back on familiar home ground, recording at Auckland's Roundhead Studios with Wilco producer Jim Scott at the controls and former Beck drummer Matt Sharrod again adding his tasteful presence behind the kit. It isn't a huge step forward sonically (although there are some tasty little diversions along the way) but it's as winsome and persuasive as ever and for all those reasons we should be truly thankful it's here with us.
The album opens with arguably its' most upbeat moment, the single 'Saturday Sun'. It's a strident, bass-driven affair and the chorus is up there with the Crowdies' most exhilarating moments. It's arguably the most immediate track here, though the record's other out and out rocker 'Inside Out' (where Finn wryly notes “I'm always smiling on the inside out”) also serves notice that the band can still do ballsy and brassy when they so desire.
The rest of the record is split fairly evenly between the dreamy pop confections Crowded House are rightly renowned for and the occasional wander down a more esoteric dirt track. To this end, 'Archer's Arrows' is pensive and enigmatic, with a complex vocal arrangement, tumbling piano and some counter-point violin from guest Lisa Germano. 'Either Side of the World', too, initially threatens to embrace full-on, widescreen pop, but then takes an abstract, almost ambient detour which threatens to derail it before the band take the reins once again.
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Crucially, though, Finn's unfailing melodic nous always gets them through and when this quality shines without fear of reprisal, it's still one of the most glorious colours in Pop. If you need further proof, make straight for the wonderfully vivid narrative of 'Amsterdam' where Finn's beautifully spun tale of a bemused tourist in Europe's favourite city of sin (“you and me got the whole day off/ take a trip to Vincent Van Gogh...but the line went right around the block”) is set to one of those gorgeous lilting backdrops he seems to knock out in his sleep.
In truth, the record does threaten to get a little too lightweight in the middle. Although they're seamlessly well-crafted, both 'Either Side of The World' and the wistful, folk-ish 'Falling Dove' are perhaps a tad too downbeat. However, the record's second half includes both the majestic, yearning pop of 'Twice If You're Lucky' and two of Finn's most exquisite ballads in 'Even If' and the beautifully-poised closing track 'Elephants'. Both are heart-meltingly lovely and easily up there with the likes of 'Into Temptation' or 'Fingers of Love'. Not bad after all these years.
It's long since become predictable to read reviews of Crowded House releasing superior pop albums, but 'Intriguer' does little to buck that trend. It's another generous, beautifully-appointed record and an impressive addition to an already formidable canon of work.
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