Album Review- Sea Power

2003’s Decline of ..British Sea Power is on the list of life changing albums for me. It actually predates Arcade Fire’s Funeral with its Pixies meets Joy Division bombast. The second album Open Season is often referred in sophomore slump terms and that probably isn’t fair. It is a quieter album that recalls the gothier side of British New Wave that reflects time spent with Will Sergeant of Echo and the Bunnymen. It’s not a bad disc, just overshadowed. To me, the third album Do You Like Rock Music blends the first two albums perfectly- a more accessible version of the debut. But having perfected the sound, it’s been hard for Sea Power to really get back to this artistic peak. It doesn’t help armchair critics like myself when the band seemed quite content on making all sorts of music projects that aren’t the typical 80 minute disc. For me, the fourth album Valhalla Dancehall comes close but is the start of a vague sameness that pervades in the latter discography. Handled individually, the albums aren’t bad. (Allmusic lavishes plenty of praise, while Pitchfork is generally down on the band save 2017s Let the Dancers Inherit the Party and misspell lead singer Yan’s name in the newest review). They just are the product of an established band. Last year, the band dropped the “British” from their name- hoping to prevent any unintended nationalistic implications. In that spirit, this - the bands eighth “proper” (non soundtrack /non instrumental) album “Everything Was Forever” has a sense of relaunch. It is and isn’t. In many ways, it just another continuation- more of the same if you will. Yet, it is also likely their best album since Do You Like Rock Music? Songs like Two Fingers and Folly sound like singles. Green Goddess has the power of the band’s debut. Even a song like Fear Eats the Soul might not otherwise stand out, but surely would convert any first time listeners with its orchestral charm. Of note Bark Psychosis’ Graham Sutton produces (he produced the bands afore mentioned second, third and fourth records). For the most part, the album is best when they lean into the sound of the first record, though on a song like “Folly” with New Order-ish keyboards suggest. As a fan of a 20 year old band, one can’t expect too many surprises but this one is bound to stick in my playlist for a few weeks