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They are outspoken about their views, promoting rallies against anti-Islam group Pegida on social media and telling NME that “working-class bands have been eradicated”. At the Mercury prize they refused to smile for photos and declined to talk to rightwing publications. These political convictions also come through in the band’s self-assured dealings with the media. On Old Rock n Roll they put across a message of unity rather than an “us versus them” mentality: “I’m tired of playing the good black…I’m tired of blaming the white man. The aim is to encourage discussion about race, a topic that people are uncomfortable speaking about, but which the trio’s mixed heritage – Liberian, Nigerian and Scottish – makes them well placed to comment on. I still want to ask for it (equality) backed with the best music we’ve ever recorded”). It’s a more political album than Dead, starting with the cryptic title, which Alloysious Massaquoi defended on the band’s website (“Are things equal in this world? Fuck no. Sirens is almost ballad-like, Dare Me has a seductive, thumping beat, and John Doe is buoyed up by feel-good French lyrics (“laissez les bon temps rouler”).
Single Shame, the track that most recalls Dead’s spacey scuzziness, jumps out as the record’s most obvious party tune. Rain or Shine, all dancey, pulsating keyboards and echoing vocals, is a vivacious little pop gem. On first listen it’s a disparate amalgam of sounds, but a couple of plays in, what becomes more apparent is the mellow singing, the catchy melodies and a sense of playfulness. The abrasive buzzing of Graham “G” Hastings’s vintage EMS synthesizer, like a mosquito crossed with a chainsaw, has become as intrinsic to their sound as My Bloody Valentine’s trademark feedback.Īnd it works. Old Rock n Roll gets off to a funky, dancefloor-friendly start, but halfway through is pierced by a succession of shrill, insistent bells. Their wide-ranging influences – electronica, rock, tribal chanting, crooning – are even more pronounced. The album is sometimes angrier, sometimes more melodic than its predecessor, and if anything more experimental.
White Men Are Black Men Too confirms this.