The Big Pink: Future This - Album Review

The Big Pink
Future This
Rating: Grrrr

Entering the music scene fully formed with their fantastic 2009 debut A Brief History Of Love, UK shoegaze revivalists The Big Pink obviously were not content to stay a cult act for long. Tracks like "Dominoes" and "Velvet" were arena-ready, full of booming drums and killer choruses, that spoke to their ambitions. After several years of touring the album and opening for bands like Muse (who wrote the template for exceeding one's modest beginnings), The Big Pink return with, while not necessarily a rehash of their debut, a slight progression, that is enough to keep the initial fans happy while opening their sound up to new fans. Future This is unabashedly a pop album for them. Almost eschewing the grinding guitars that populated the tracks on A Brief History Of Love, The Big Pink focus more on melody and beat, relying a lot more on keyboards and samples, using guitars for punctuation and not the main ingredient.

I've read a lot of reviews that comment how opening track, and first single, "Stay Gold" sounds a lot like "Dominoes," and yes, I can see the similarities, however, to me it seems more like a continuation from the first album. Acting as a touchstone before delving into the changes that the band is making. While the journey begins at the same point, by record's end it will be completely different.



"Hit The Ground (O Superman)" takes a brilliant use of a Laurie Anderson sample over funky beats and swooning keyboards, with a majestic chorus led by Robbie Furze's anthemic croon.



After this rather familiar start to the album, The Big Pink start trying new things, adding R&B samples and funk organ to the slippery "Give It Up."



"1313" adds gritty bass and more Britpop-esque shimmering guitars to a song whose focus is all about atmosphere and mood. And also shows that the band are no longer the heartless bastards from their debut, that they too are affected by love.



"Jump Music" rolls out over whizzing and buzzing synths, kicking into a banging club track, and hitting a bread and butter killer chorus.



Another change is that the lyrics and themes seem much more personal and affecting; no longer keeping the listener at arm's length, bringing them in closer. Title track "Future This" has Furze singing "I see now what you've always known/all hearts break when the light is faded/love runs faster than time," finally seeing the damage that his previous attitude could inflict.



Which all leads to the devastating final track "77," which is about the aftermaths of addiction, whether they be drug or emotional, with Furze's voice quavering, wishing he had the will to resist. The song is a lovely track, built on an echoing, hip-hop beat, plaintive pianos, and lovely strings.



Future This doesn't take its time making its intentions known. It is a BIG record, full of skyscraping production techniques, killer choruses, and music designed to get your attention. While some have complained they record doesn't do enough to differentiate itself from its predecessor, I think there is a distinct change as the record goes forward. While The Big Pink aren't playing stadiums right now, I think the question is more when will they, rather that could they?

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.