{"title":"Indie Pop","description":"","products":[{"product_id":"belle-and-sebastian-a-bit-of-previous","title":"BELLE AND SEBASTIAN - A Bit Of Previous","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eLP + 7? – Indies Only Limited Edition Black Vinyl with Bonus 7?\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eA Bit of Previous\u003c\/em\u003e is the tenth studio album by \u003cstrong\u003eBelle and Sebastian\u003c\/strong\u003e and their first full-length in seven years. This may be surprising to anyone following the recent life pursuits of the Glasgow 7-piece: a trilogy of EPs; a soundtrack for the directorial debut of The Inbetweeners’ Simon Bird; The Boaty Weekender – a 3000 capacity star-studded four-day music festival on a cruise liner sailing the Mediterranean; a live album showcasing the band’s present-day iteration as savvy main stage entertainers; and in 2020 a collaborative project with fans called ‘\u003cem\u003eProtecting The Hive\u003c\/em\u003e’. But in all these idiosyncratic endeavours, as intrinsic to the band’s DNA as the stage invasion at the end of each of their shows, a full-length has eluded us.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eA Bit Of Previous\u003c\/em\u003e was recorded in Belle and Sebastian’s hometown of Glasgow when plans to fly to Los Angeles in spring of 2020 were scrapped due to the pandemic. Says \u003cstrong\u003eMurdoch\u003c\/strong\u003e in the liner notes: “We did it together, us and the city. This record was the first ‘full’ LP recording for B\u0026amp;S in Glasgow since \u003cem\u003eFold Your Hands Child\u003c\/em\u003e, 1999. We clocked in every morning, we played our songs, we wrote together, we tried new things, we took the proverbial lump of clay, and we threw it every day.”\u003c\/p\u003e\u003cp\u003e\u003cem\u003eA Bit Of Previous\u003c\/em\u003e is a classic Belle and Sebastian album preoccupied with songs and melodies that won’t leave your head and lyrics that can make you smile and ponder and sometimes be melancholic. The result is one the most diverse, hands-on and thrilling entries in the bands catalogue, self-produced and recorded (with contributions from \u003cstrong\u003eBrian McNeill\u003c\/strong\u003e, \u003cstrong\u003eMatt Wiggins\u003c\/strong\u003e, \u003cstrong\u003eKevin Burleigh\u003c\/strong\u003e and \u003cstrong\u003eShawn Everett\u003c\/strong\u003e). ‘\u003cem\u003eYoung And Stupid\u003c\/em\u003e’ is a stuttering folk rock earworm that faces the passage of time with wry ennui, ‘\u003cem\u003eCome On Home\u003c\/em\u003e’ with its warm fireside piano evokes a handing over of the generational baton, while the deceptively feelgood, choir-backed ‘\u003cem\u003eIf They’re Shooting At You\u003c\/em\u003e’ reads like a poignant ode to defiance and survival.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eA Bit of Previous\u003c\/em\u003e is also scattered with big, occasionally delirious pop moments. ‘\u003cem\u003eUnnecessary Drama\u003c\/em\u003e’ rips through a cacophony of overdriven riffs and a droning harmonica that borders on the unhinged and is one of the band’s heaviest outings since, well, ever. The 140+ bpm ’\u003cem\u003eTalk To Me Talk To Me\u003c\/em\u003e’ is ablaze with euro synths and keyboard horns as the voices of Murdoch and Martin intertwine on a breathless chorus. ‘\u003cem\u003eWorking Boy in New York City\u003c\/em\u003e’ exists in a parallel universe where the band did in fact make it to California – such is the escapist bliss of its sloping flute and bittersweet funk. On the other side of the spectrum are some of Belle and Sebastian’s most moving ballads. Tender finger-picked paean to a lover ‘\u003cem\u003eDo It For Your Country\u003c\/em\u003e’ and doo-wop-inflicted ‘\u003cem\u003eSea Of Sorrow\u003c\/em\u003e’ showcase Murdoch’s tenor at its most bare and affecting, while \u003cstrong\u003eStevie Jackson\u003c\/strong\u003e contributes lovelorn country waltz ‘\u003cem\u003eDeathbed of My Dreams\u003c\/em\u003e’.\u003c\/p\u003e\u003cp\u003eSo what is a \u003cem\u003eA Bit of Previous\u003c\/em\u003e? 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You hear that impulse on lead single “\u003cem\u003eCosmic Leash\u003c\/em\u003e,” which opens with a wall of sound that careens to a halt, as Farren delivers his interlude over the slight strumming of a guitar. That sense of reprieve lasts only a moment, before the enormous chorus shreds through the silence as Farren wails: “Change your heart\/ Wait your turn.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe choruses on \u003cem\u003eDoom Singer\u003c\/em\u003e are all like this, huge, cathartic, catchy as hell, and inspired by what Farren describes as the “sixties-tinged girl group vibe, not retro, but playful” employed by Belle and Sebastian. “\u003cem\u003eFirst Place\u003c\/em\u003e” is a shining example, a song Farren describes as being about worrying you might grow apart from your partner and, “Not being able to cum because of Lexapro.” It’s hard to describe the single as anything but “jaunty,” the buoyancy of Farren’s delivery belying any sense of disquiet humming beneath its surface.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFarren says \u003cem\u003eDoom Singer\u003c\/em\u003e communicates an “optimistic nihilism,” and that lyrically, he’s trying to embrace nuances inspired by films like TÁR and I’m Thinking of Ending Things. “In these movies, the truth of the narrative isn’t handed to you, and it’s not easy to figure out where your sympathies should lie,” he says. 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We’re made to believe aging makes you wiser, but as Farren has grown into the prodigious songwriter you hear on \u003cem\u003eDoom Singer\u003c\/em\u003e, he’s only grown less certain. “I’m constantly processing the way I feel about things, and I didn’t want any of these songs to sound sure of themselves, or to communicate any clear message,” he says.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCiting My Bloody Valentine, TV on the Radio, and Camera Obscura as clear influences, Farren says he can’t listen to much music until it’s time to make a new record, but when it’s time, he submerges himself in music that moves him. “I wrote between fifty and eighty songs for this album,” he says. The final cut is as genuine, empathetic, and of course, funny, as Farren is, and though he claims nihilistic tendencies, it’s the dogged optimism that endures. 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