Malcolm Middleton - A Brighter Beat
(2007)

Review by Lisa Dib

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Alright, I'll have to admit to judging a book by its cover on this one. Or, in this case, a CD. The cute and quirky balloon-faced man decorating the cover of ex-Arab Strap member Malcolm Middleton's third album gave me the indie-jeebies.

I was, admittedly, expecting the kind of acoustic, slow-moving, bore-me-to-tears sleepwalk that makes up the ACOUSTICA-BY-NUMBERS breed. But, luckily for me (and you, lest a bitter rant ensue) Middleton provides a breadth of heartbreak, longing and simple pleasures - few though they may be - to toil away the night.

The album ventures into some interesting (but safe) areas; the keys and soaring vocals on tracks like opener Were All Going to Die and A Brighter Beat make the sad Scot sound like Depeche Mode. Not in a bad way, mind you - luckily for him, I love Depeche Mode.

It also makes dark promises of greater rock to come with the ferocity of these two tracks, but unfortunately slows down to an almost dispiriting pace. Fortunately though, Middleton's sublime songwriting and haunting vocals push it past 'Generic Town' and into a sound more distinct.

Credible word-man though he may be, Malcolm Middleton is something of a bummer; his apparent holy mess of a life makes for tenderly poetic lyrics, but not the cheeriest of sentiments. The titles seemed to be plucked straight from 'Music's Big Book of Clichés', keeping mainly within the black of the black & white of life. Not that it hasn't been done before, or enjoyed, I mean, how would Radiohead survive without the aforementioned book, but it appears as though much of Middleton's talent is being wasted in crawling balladry and self-loathing.

The music, itself, is divine.

Some catchy, poppy beats, blazing guitar here and there, and certainly the psychedelic-early Pink Floyd feel of Somebody Loves You certainly resurrects some warm feelings of nostalgia.

Middleton's deep Scottish drone can become, after time, a distraction from the wonderful music going on behind him, and you get the feeling he doesn't know its there, that maybe he should be listening to the beautiful violins and blues guitar of Superhero Songwriters before he runs for the kitchen knife, Elliot Smith-style.

Some jangly country guitars, cymbals and keys on (personal favorite) Fuck It, I Love You are something of a pleasant shift towards optimism ("Fuck it, I love you, there you go, three little words on a mobile phone") at the halfway point of the album. Middleton's normally somber tone is transformed here, not dramatically, but very subtly, and you get the feeling he's not so far gone into apathy; that perhaps all he needs is a nice girl that he can play his records with, and maybe things won't be so bad.

The album ends with the standout track Cheer Down, which is simply Middleton's vocals and piano fusing together, allowing the rainy dark of his life (and mind, it seems) to enter your own room - putting you right in the thick of human conflict.

This isn't a bad thing, mind you, sometimes a good slab of dark, cigarette-stained pain and longing is just the ticket on a wet winter Sunday; I wouldn't really feel like pumping up Walkin' On Sunshine.

Would you?

ALBUM RATING: 3 out of 5

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