Surviving the critical brickbats that dogged them during the last part of the 90s, Shed Seven emerge blinking into the 21st century with a new label and new line-up on their fourth studio album.
The abrasive intro of 'If The Music Don't Move Yer' recalls the Pistols' 'Anarchy In The UK' but within seconds Rick Witter's familiar voice ushers things back into distinctive indie territory.
'Eyes Before' is possessed of the band's ramshackle charm and trademark uplifting chorus, 'Cry For Help' opens with an acoustic guitar sound like 'Wonderwall'. Groundbreaking stuff this isn't.
"I really should be myself sometimes/To remind myself I'm still around" Rick cries on 'Be Myself' as the thick, Weller-esque chords and Hammond whirl around him. 'Laughter Lines' begins with a striking juxtaposition of electric guitar against acoustic and sounds totally un-Shed Seven until Mr Witter enters.
There's little here to distinguish from what the band have done before. In fact, the addition of the Hammond to their sound only serves to accelerate the band's slide toward the much loathed 'dad rock' tag that they've always threatened to acquire.
'To The Wind' is another more adventurous track, with acoustic guitar and piano nicely balancing each other. But then there's Rick again to bring things down.
The addition of keyboards has certainly benefitted the Sheds, filling out their sound and widening their parameters, but ultimately this is another album that plods when it wants to soar.
Witter's vocals are certainly the biggest factor in robbing the songs of the passion they need to elevate them above indie homogeneity, making for another proficient album to file alongside The Bluetones and Gene in the category marked "must do better".
