The Dears - Missiles (Album)

Dangerbird Records/MapleMusic Recordings

Finished since April and being lumped around label after label 'Missiles' is as astounding as any other Dears release which makes it all the more surprising that it took so long to find a home. The band desribe it as both 'a beautiful blues album' and 'long and kinda paced for love making' which is partly true it clocks in at over 58 minutes but as for love making well could you imagine making love with a strange Damon Albarn impressionist in the background? I think not.

After 2006's 'Gang Of Losers' it all kind of went a bit wrong for The Dears everyone departed with the exception of lead couple Murray Lightburn and Natalia Yanchak and of course they exited the Bella Union stable so what to do next? Well since they reckon it's better as just the two of them why not go and make a record that is stripped-down, full of vunerability, and yet incredibly layered with intricacies. Hey presto 'Missiles' was born.

Opener 'Disclaimer' strolls in on a wave of trumpet with Murray easing in with 'see i've come back from almost dead, and i've gotta avenge almost everyone' a pretty bold start to an album and maybe a little dig at former bandmates and label folk who knows. The pace slows with 'Dream Job' and then the dissappointing 'Money Babies' that sounds good but lyrically it's annoying with it's constant 'our money is elastic' lyric, i'm skint i don't want to hear that.

Picking back up again with the 8 minute 'Lights Off' which is maybe the sort of love making song they were alluding to but this is more about it than for it 'sleep through the night, could you with me' it's all starry plinking, lush string arrangements and at times haunting melodies. It doesn't outstay it's welcome but leads onto 'Crisis 1 & 2' that builds into a pounding track that seemingly about a war mission and escapism from it though it could just as easily be interpreted as the relationship within the group.

Title track 'Missiles' is a slow ballad about racism yes that is possible it would appear, it floats along Murray intoning 'you are cold as a cucumber, you shout-out nigger don't interrupt' before errupting into a bass-heavy finale. 'Meltdown In A Major' is a heart-warming love song that's probably the cheeriest thing here. The last track is the epic 11 minute 'Saviour' with it's swells of organ and almost handclapping drums that build over a nursery rhyme piano refrain add to that a brass section and child choir this song is about as epic as it gets and a fitting end to the album.

Maybe not the love making album they claim it to be not really even a blues album entirely either but certainly an effective album that will provoke emotions worth the listen if only to hear the fianl track but it's so much more than that.