Working For A Nuclear Free City
Working For A Nuclear Free City inhabit that dark world between dance and indie music. Creating atmospheric and melodic worlds that remind me of Vanishing Point-era Primal Scream and Begging You-era Stone Roses, it's the blend of electronica and guitar work that manages to transport you into somewhere else, possibly forward, maybe even back in time and captures your imagination.
Beginning with The 224th Day it clicks and skips along with some echoing bassline that manages to blend retro influences with those looking forward to create something that sounds remarkably fresh. The Tape does this also, the delicate arrangement of electronica around the guitar riff, without any vocals, gets the pulse racing as it heads towards it's climax.
The vocals, when they're used, are hushed and reverential with the lyrics psychedelic in nature and whilst the band themselves aren't "tree hugging hippies" it's clear that they're trying to write something intelligent and maybe even a touch spiritual. But don't let that put you off, there's tunes a plenty with So, Dead Fingers Talking and Forever all thumping along and reminding me of one of the great lost bands of British music Regular Fries. The mix of programmed beats and live percussion worked in with some fuzzed up guitar riffs bring to mind Primal Scream's similar experimentation with this, but Ed Hulme's vocals aren't as strained as Bobby Gillespie’s and although they lack his swagger, this record is all the better for it. Innocence sounds like a lost cut from David Holmes' Ocean's Eleven soundtrack with it's skipping jazz based beats and piano line woven between them before the funky slap bass line kicks it.
Whilst the "missing link" between indie and dance music is still being strived for, Working For A Nuclear Free City seem unperturbed by this quest, they've made an album that may not be entirely fashionable but it just sounds so damn good.