ebotunes

The phrase “return to form” is one I’ve always felt to be a little over-used, and I’d imagine it’s had it’s fair share of column inches in relation to Dig Out Your Soul. In this case I’d say it’s not only a lazy observation, but an inaccurate one, what with the previous two Oasis albums being by no means wide of the mark. Indeed it took a while to be convinced this one was an improvement on Don’t Believe The Truth. Lead single Shock of the Lightning is Oasis-by-numbers, just as Lyla before it, and to a lesser extent The Hindu Times before that (although that was welcomed with accusations of bare-faced plagiarism, which is in itself something of a Gallagher trademark – and while we’re on that subject, why did everyone always bang on about Oasis ripping off The Beatles? Answer me this: have you ever seen Definitely Maybe and Never Mind The Bollocks in the same place at the same time?).

The familiar sounding comeback single tactic can go one of two ways; either you think Oasis are past it and can’t come up with anything fresh and original, or it reminds you of just why you love Oasis,justifying all thise teen years spent staring into the bathroom mirror wishing your eyebrows would grow a bit bushier. Also as a first single, SOTL fulfills it’s role of being one of the weaker tracks on the album. Falling Down, on the other hand probably prevails as the highlight.

One slight disappointment is Liam’s’ effort I’m Outta Time (which I was appalled to learn will be the second single), which is just a tad on the whiny side (‘If I had to go/In my heart you’d grow’ – come on Our Kid, grow a pair), but other than is decent enough musically. Other highlights include stomping opener Bag It Up, and Noel’s lo-fi effort (Get Off Your) High Horse Lady.

Soldier On is casually epic, and a fitting end to the album. Fitting in that from start to finish, Dig Out Your Soul is the sound of band wise enough not to try too hard. Beyond the first two singles, it’s difficult to pick out anything to suit a Radio 1 playlist, which hopefully signals a future where the masses can continue to chew over the Kaiser Chiefs and leave the rest of us in peace to enjoy the good stuff.

Seriously, buy this album. Now. I know its only March but I might as well just give it album of the year right now and get it over with.

As is normal practise with a new album I get addicted to too quickly, I needed to go cold turkey for a few weeks on this one. Delete it from the iPod, stop telling people how good it is, and find something else to keep me amused, perhaps an old classic. In this case I had to resort to Metallica’s entire back catalogue, due to being approximately 50 words into my 3500 word essay on Bob Rock, and with less than a month to finish it. But that’s another story.

Thankfully I’m now past the annoying phase of Studio Head and am onto the appreciative phase. Man this record sounds good. It was produced by Bernard Butler – ok so his bands were shit but I’m willing to let him off with that now. Eilidh’s bass sounds awesome – solid, present, but not obtrusive. Another thing you notice with This Gift compared with The Repulsion Box (ebo album of the year 2005) is that Adele’s voice is much more controlled and focussed, but no less feisty. Overall the album sounds a lot thicker – a bit less mandolin and tambourine this time around, and the guitar riffs are louder and heavier.

Best track? It was Chains, but now it’s Flags. Make up your own mind (…what? you haven’t bought it yet? how many times do I have to tell you!)

With this gig taking place in a church (a real one, there was a mass this morning at 11), I could write a full review littered with religious puns, but instead I’ll just give you the few important details. Tonight consisted mainly of Noel Gallagher, an acoustic guitar, a seat in the front row, and me.