The ceaseless band-hopping of the two Rachels has seen a five-year gap since the last Trash Kit album, and also the departure of Ros Murray and arrival of Gill Partington on bass. Bas Jan, Bamboo, Shopping and Sacred Paws have kept them plenty busy, but thankfully they have reunited for their third album for Upset The Rhythm, and what a treat it is.
The polyrhythmic drums and highlife guitar are still there on Horizon, channelling The Sea And Cake as much as X-Ray Spex, but always sounding unique, like hula music for post-punk kids, overcoats discarded as they frug on the sand and throw their arms up into the clear blue sky. Dancing is irresistible here, the rhythms being charm in musical form and the lyrics delivered in clipped, half-spoken manners, over- and undercutting one another, bobbing and weaving around the insistent bass.
The album opener “Coasting” starts with a swingy, resonant bass and that yelping, Rachel Aggs‘ high-pitched calypso guitar that immediately transports us to somewhere warm and friendly. There is a gentle use of violin for texture, the strings caressing the ears as the song bursts into a frenzy of guitar strumming. I couldn’t help thinking of Lawrence from Felt‘s ban on cymbals, as there is very little use of them here. The drums are soft, yet insistent, and their rolling rhythms urge the songs onward, rarely allowing an opportunity to rest. They sound like Rachel Horwood is using rolled-up newspapers at times, but listening in, you can’t help but thrill at the deft touches.The lyrics are so succinct yet they manage to put across any message they choose, with “Bed”‘s refrain of “Get out of bed, get ten out of ten” simply assuring us that we can accomplish anything, we just need to be out of bed to do it. The juxtaposition between bass and guitar is really noticeable here and is one of the band’s secrets. The tone and feel of the two instruments is very different, yet they mesh perfectly. Side two opens with the longest track, “Disco”, and this would be ideal on the indie dance floor, cutting a vibe like a modern day Pigbag in places. The guitar lines wriggle like shiny little eels and everything is soft somehow. Nothing jars as the song makes its sinuous way, and even when cymbals do appear, they sound hushed as if the sharp tang is too much for the smooth progress the track is making.
“See Through” is slightly fiercer — or maybe more determined — and “Traffic Lights” reminds me a little of Erase Errata, but only the tiniest bit. Any influence that you think you might hear is gone in a puff of smoke as they surge onward. “Crooked teeth make a perfect smile” is my favourite line from the album and I think goes some way to explaining he ethos of the band. Everyone is welcome and the sound echoes that inclusivity, being subtle yet propulsive and having something that would appeal to and charm all listeners.Horizon has a positive outlook that is infectious, and as the final track, “Window”, lulls you gently back into the real world, you’ll notice a big grin on your face and the desire to flip the record over and just start again.
-Mr Olivetti-
