{"id":48773,"date":"2019-04-09T18:56:36","date_gmt":"2019-04-09T17:56:36","guid":{"rendered":"http:\/\/essentiallypop.com\/epop\/?p=48773"},"modified":"2019-04-13T11:00:49","modified_gmt":"2019-04-13T10:00:49","slug":"wish-you-were-here-londons-one-eyed-wayne-spread-their-wings-on-new-album-saucy-postcards-and-super-creeps","status":"publish","type":"post","link":"https:\/\/essentiallypop.com\/epop\/2019\/04\/wish-you-were-here-londons-one-eyed-wayne-spread-their-wings-on-new-album-saucy-postcards-and-super-creeps\/","title":{"rendered":"WISH YOU WERE HERE – London’s One Eyed Wayne Spread Their Wings On New Album ‘Saucy Postcards Super Creeps’"},"content":{"rendered":"

Hornsey’s favourite monocularly monikered new wavers\u00a0One Eyed Wayne\u00a0<\/strong>are back with the follow up to their well received debut\u00a0Attack of the Luxury Flats<\/strong><\/em>.<\/em><\/h4>\n

But, while it must have been tempting to repeat the formula, it doesn’t take long to realise Saucy Postcards Super Creeps<\/strong><\/em> is a very different beast to its predecessor.<\/p>\n

The vitriol has been dialled back a notch and some of the rougher edges sanded down, in what feels like a band discovering their own sound.<\/p>\n

Despite the Bowie references in the album title and songs like\u00a045 minutes <\/strong><\/em>and Yoyo<\/i><\/strong>, the band’s influences are less obvious this time around.<\/p>\n

The lyrics too are markedly different, elliptical and redolent rather than explicit and direct.<\/p>\n

There’s a greater emphasis on production, with keyboards – Hammond organ in particular – given increased prominence.<\/p>\n

The songwriting feels more relaxed and confident, tunes are given more room to breathe and there’s greater stylistic variation.<\/p>\n

If the album has a theme, it’s about time – from the cruelty of its passing and the ageing process,\u00a0A Piece Of This Romance,\u00a0<\/strong><\/em>to the simple joy of letting it slip through your fingers on\u00a0Waste of a Day<\/strong><\/em>.<\/p>\n

\"\"<\/p>\n

45 Minutes<\/em>\u00a0shows the band experimenting with quiet, loud dynamics, while\u00a0Yoyo<\/em>‘s psych-rock organ put me in mind of The\u00a0<\/strong>13th Floor Elevators<\/strong><\/em>.<\/p>\n

Songs like\u00a0…Romance<\/em>,\u00a0Thousand Dreams<\/strong><\/em> and The<\/strong><\/em>\u00a0Body’s Gone <\/em><\/strong>display\u00a0their ability to conjure engaging and sympathetic characters with just a few well chosen lines.<\/p>\n

Pickle <\/strong><\/em>offers humour and rollicking skabilly in equal measure, while musical surprises like the violent key change on\u00a0Man From Uncool<\/strong><\/em>, keep listeners on their toes.<\/p>\n

But the highlight for me is the run in, the quartet – Steve Donoghue<\/b>,\u00a0Don Adams<\/b>,\u00a0Pat Joslin <\/b>and\u00a0Dean Leggett <\/b>–\u00a0saving their best till last with\u00a0Neverborn<\/strong><\/em> and\u00a0Old Man’s Balloons<\/strong><\/em>.<\/p>\n

Dripping with righteous indignation,\u00a0Neverborn\u00a0<\/em>sounds a bit like early Fall<\/strong>, its nightmarish descending lead line setting the mood, as bodies doss in doorways ‘settling down for the freeze’.<\/p>\n

Composed in musical hall-style waltz time, album closer\u00a0Old Man’s Balloons <\/em>tells the story of an otherwise decent old boy, who pays a high price for swallowing ‘the garbage of the gutter press’.<\/p>\n

It’s a richly evocative piece which could indicate the future direction of this fast developing band.<\/p>\n

When reviewing their debut<\/strong>,<\/span><\/span><\/a>\u00a0I suggested they wore their influences too obviously and should concentrate more on coming up with their own sound.<\/p>\n

I hugely doubt they played the slightest attention, but that\u2019s exactly what they\u2019ve done with this record.<\/p>\n

A stranger, more complex, album than their debut, but all the more intriguing for that.<\/p>\n