Good, good people
The reputation of the super-group has been on the wane for some time now but along with The Raconteurs, T.G.T.B.A.T.Q. could be giving it a new lease of life. Damon Albarn has pulled off an almighty coup by securing the services of former Clash bass-king Paul Simonon, Afrobeat legend Tony Allen, in demand producer Dangermouse and ex-Verve man Simon Tong for his latest project. If you're expecting the kind of cartoon pop that was delivered with such aplomb by Gorillaz on 2005's devilishly good 'Demon Days' be warned, T.G.T.B.A.T.Q. don't really do 'pop' per se and can sound rather maudlin at times.
Their eponymous debut album is a lovelorn ode to London that's hard to pin down but difficult to turn off. Opener 'History Song' coasts along on the back of Simonon's burbling bass, Albarn singing sweetly over lo-fi acoustic guitars that carve out an almost reggae-ish path. '80's Life' is a rather baffling experiment in doo-wop and 'Whale Song' is a perplexing but enjoyable slice of down-tempo electronica that's brightened by ethereal sound effects and seemingly random splashes of piano. He may be the archest of musical chameleons but Albarn's talent as a songwriter is almost unmatchable and while this batch of songs may not scale the giddy heights of his best material there are dazzling moments of individual brilliance.
He may have toned down the 'pop' element of his repertoire for this project but 'TGTBATQ' still recalls the more accomplished moments from Blur's vastly under-rated '13' and the more sedate follow up 'Think Tank'. 'Herculean' is a truly immense cut, an assured slice of doleful soul that will linger long in the memory after the latest batch of guitar toting indie hopefuls have bitten the dust. Likewise, recent single 'Kingdom of Doom' continues to grown in stature with each play, Albarn the weary narrator casting a cursory yet caustic eye over the state of the nation that drinks all day "'cos the country's at war". 'Behind The Sun' is similarly beguiling, displaying some much needed warmth. 'The Bunting Song' is one of the undoubted highlights though, Simonon's bass work again coming to the fore. Elsewhere the woozy 'Nature Springs' is so laid back it's almost horizontal and the experimental 'Three Changes' (the closest the band come to evoking the spirit of The Clash) is a moment of pure unadulterated bliss. The charming but all too brief 'Green Fields' is a minor pop gem on which Danger Mouse sprinkles some magic before proceedings end on the drama laden title track.
This is an album for the true devotee, in an age of quick fix guitar thrills TGTBATQ deliver something here that proves they're in it for the long haul.