Lloyd Cole - Guesswork - Edel - LP/CD/DD - Out Now
There is something inevitable about Cole's first new song-based album in six years - in the interim period between 2013's Standards and now, Lloyd recorded a string of electronica pieces with revered composer Hans-Joachim Roedelius, all of which appears to have positively rubbed off on him. Because here is an album brimming with glacial beauty and shimmering melodies that recall his best work on Rattlesnakes, Mainstream and Bad Vibes, interspersed with subtle synths rather than the trademark jangly guitars.
To a few Cole-ites, this might be something of a shock. He's gone all John Grant on us. Thumping drumbeats here, the odd profanity there, barbed lyrics and the kind of atmospherics that wouldn't sound alien on a Prefab Sprout or The Blue Nile album. More importantly to these ears, nothing on this set sounds out of place on a Lloyd Cole album either, despite the welcome heavy reliance on machines. It's all about the songs.
Opener The Over Under gradually builds into a resplendent sweeping epic that brims with equal doses of melancholy and reflection, while the bouncy, gritty Night Sweats sees the man proclaiming he's "a complicated motherfucker" (but you knew that) and "always on the verge of something beautiful, or terrible...". Cole's over-verbiage from earlier times has been replaced with more straightforward, often witty and clever lyrics. The closing Loudness Wars declares "there's no need to scream and shout.." and "no need to throw shit out of the window" during a raging row between lovers (or could it be nations?).
In between, Cole fires a welter of big pop artillery. Head to the gorgeous OMD/Kraftwerkian Moments and Whatnot for some glorious sprawling chord changes that echo songs like Hey Rusty or What Is Wrong With This Picture, albeit minus the guitars and analogue drums. And Violins is perhaps the album's counterpoint, an epic widescreen extended radio-friendly smash that, musically at least, reminds me of the intro to Bowie's V2-Schneider.
I mentioned The Blue Nile earlier, with good reason. Remain is melancholic in melody, plaintive in lyric and, just when those synths kick in, it's Let's Go Out Tonight all over again. That's not to say Cole has wilfully plagiarised Paul Buchanan and co's great moments - Cole's USP is all about complexity and simplicity together, something he's achieved on most of this rewarding collection.
According to recent interviews with Cole, Guesswork sounds like it was hard work to make. It translates into one of his easiest albums to get acquainted with. Superb (and great to see another talent, Steven Lindsay (of The Big Dish fame), creating a great sleeve image).
9/10
To a few Cole-ites, this might be something of a shock. He's gone all John Grant on us. Thumping drumbeats here, the odd profanity there, barbed lyrics and the kind of atmospherics that wouldn't sound alien on a Prefab Sprout or The Blue Nile album. More importantly to these ears, nothing on this set sounds out of place on a Lloyd Cole album either, despite the welcome heavy reliance on machines. It's all about the songs.
Opener The Over Under gradually builds into a resplendent sweeping epic that brims with equal doses of melancholy and reflection, while the bouncy, gritty Night Sweats sees the man proclaiming he's "a complicated motherfucker" (but you knew that) and "always on the verge of something beautiful, or terrible...". Cole's over-verbiage from earlier times has been replaced with more straightforward, often witty and clever lyrics. The closing Loudness Wars declares "there's no need to scream and shout.." and "no need to throw shit out of the window" during a raging row between lovers (or could it be nations?).
In between, Cole fires a welter of big pop artillery. Head to the gorgeous OMD/Kraftwerkian Moments and Whatnot for some glorious sprawling chord changes that echo songs like Hey Rusty or What Is Wrong With This Picture, albeit minus the guitars and analogue drums. And Violins is perhaps the album's counterpoint, an epic widescreen extended radio-friendly smash that, musically at least, reminds me of the intro to Bowie's V2-Schneider.
I mentioned The Blue Nile earlier, with good reason. Remain is melancholic in melody, plaintive in lyric and, just when those synths kick in, it's Let's Go Out Tonight all over again. That's not to say Cole has wilfully plagiarised Paul Buchanan and co's great moments - Cole's USP is all about complexity and simplicity together, something he's achieved on most of this rewarding collection.
According to recent interviews with Cole, Guesswork sounds like it was hard work to make. It translates into one of his easiest albums to get acquainted with. Superb (and great to see another talent, Steven Lindsay (of The Big Dish fame), creating a great sleeve image).
9/10