There is nothing as frustrating as when a band becomes its backstory. Read any Ra Ra Riot review and prepare to be regaled with the apparent truth that debut album The Rhumb Line is a requiem of their recently lost drummer (ok, so I‘m not helping matters much here), but as if to give the band more credence for creating such a death-tinged album. However, any follower of the band will be well familiar with singer Wesley Miles’ maudlin Morrissey-esque mortality-themed lyrics from long before the tragic death of their drummer. To consider the album a triumph in the face of adversity is to disrespect songs that have long since formed part of the band’s setlist.
Ra Ra Riot’s anglophilia hasn’t subsided since their early releases. Their Ocean Rain-era Echo & the Bunnymen style nuances are still integral. Cemetery Gates remains a lyrical template (minus the sparkling Stephen Patrick wit), and there’s even a new Kate Bush cover to get to grips with. There is also, therefore, a great degree of 80s indie fetishism in the album‘s DNA, no more obvious than on synth-laden track Too Too Too Fast.
Miles’ distinctive (perhaps too distinctive) voice hangs far removed from the instrumental mix, giving his vocals centrestage. For a less contentious singer such production values might work. In Ra Ra Riot’s case, it leaves them vulnerable of becoming something of a Bovril band. While Can You Tell is an example of the upbeat and anthemic capabilities of the band, almost each song falters after 30 seconds of dynamic drums and background strings. It all feels tacked together, too deliberate, and like the work of seven individuals rather than one band.
Some of the most fruitful albums of the last few years have sprung up from the tangled theme of death, whether from Arcade Fire, Le Loup of Jape. Ra Ra Riot’s effort seems less cathartic and more controlled, too unoriginal to be truly enjoyable, and worst of all, like the band have a veritable lake full of untapped potential. Nevertheless, the Riot have enjoyed swooning success so far – one man’s indie-schmindie is another’s breast-beating album of the year. Just count me as the former.
See also: The Smiths – The Queen Is Dead [WEA], Echo & The Bunnymen – Ocean Rain [WEA]
