Confidants has the misfortune of being bound in association with one of my most significant, embarrassing events of the year - drunkenly tripping over my own feet and fracturing my shoulder - so I’m very, very grateful that it’s a good album.
Land Lovers are sounding really strong live and the uptempo tracks on Confidants have the same energy. It feels like cheating to single out ‘The Cinema Bell’, as it was released as the first single last year, but the stutter-stop repetition in the second line is gorgeous and it’s a great pop song with slightly absurd narrative moments turned anthemic.
This is a long way from kill-your-darlings territory lyrically, something that began as a niggling irritation and turned into a compulsive draw, like it could have flowed smoother but is more interesting for the friction in being agreeably unwieldy. There’s efficient, evocative micro-narratives like ‘The Pocket Orchestra’s Death Song’ (“I dropped him to work” is especially startling) and a quality of domestic baroque throughout, passing behind concerns like mortality (nuanced in both ‘Life’s Work’ and ‘Terry