Badly Drawn Boy, aka Damon Gough, releases his long-awaited ninth studio album today. ‘Banana Skin Shoes’ was produced by Gethin Pearson (Kele Okreke, JAWS) and was collaborated with Youth, Keir Stewart, and Seadna McPhail.
The comeback album, for so many, a chance to reacquaint themselves with a tried and tested audience. It’s a warming feeling and no one would begrudge Gough an album of quirky acoustic pop songs. However, Gough has never been one for settling, and, at points, throws the kitchen sink in.
The title track takes the dynamic funk of Beck and Style Council, the spirit of Cornershop and melodic drama of The Chemical Brothers. Gough is back and in technicolour. He follows Jarvis into house music styles on ‘Colours. The warped wobble of his hometown Mondays colludes with Latin influences and subtle but, sensational blasts of brass. ‘Colours’ goes further than just groove laden bliss though. Gough’s vocals ooze confidence, they’re completely at ease with what they can do and, they offset the subtle euphoria in mesmerising style.
The self-assurance comes into its own again on the Motown via Manchester inspired ‘Fly On The Wall’ and ‘Tony Wilson Said’. The former leans on the vibrancy of Ian Brown’s masterpiece ‘Golden Greats’ and the cinematic genius of Phil Spector and Chris Farlowe’s ‘Out Of Time’. Meanwhile, ‘Tony Wilson Said’, bristles with A Certain Ratio’s sense of adventure as Gough wanders the life of the great musical connector.
The worst thing you can say about this album is, Gough occasionally retreats into his archetypal sound. ‘You and Me Against The World’ pick up where ‘What I’m Thinking Part 1 – Photographing Snowflakes’ subtle, downbeat but, forensically searching the soul for meaning. ‘I Just Wanna Wish You Happiness’, examines his journey through divorce and acceptance of his past with the dreamier aspects of Weller’s great comeback album, ’22 Dreams’. The thing is, when you can fall back into such unique and vivid scenery, it’s still a step ahead of the rest.
There are, two striking moments of innocence, both lovingly directed to his new wife. ‘Never Change’, punctuated by its Bacharach orchestral beauty, and, ‘I’ll Do My Best’. The latter, even Peter Hitchens black heart would struggle to find the beauty in.
It’s hard, as a fan, to discern why anyone would take ten years off from their day job. This is why. Reinvigorated, Gough has examined his relationships and what they mean with remarkable integrity. He doesn’t need another Mercury Music Award, they, however, need him.