Spectrals // Bad Penny

Spectrals
Bad Penny
Released: 17th October
Wichita

Great name for an album that isn’t it? Whether it’s self referential relating to the well known phrase or saying ‘bad pennies always come back’ or ‘there’s two sides to every coin’, whether it’s satirical commentary on our current economic strife, or whether it’s a nod to Steve Albini and Big Black’s fiery Chicago punk track of the same name all adds a curiosity to the record, a trait all record names should have as far as we’re concerned. Knowing Louis Jones’ aka Spectrals’ previous output and propensity for melding sonic ingredients, all three are likely to have figured somewhere down the line.

As for the content, fewer questions are asked. Since the early and wholly justified buzz of 2009’s Leave Me Be and 2010’s ‘Extended Play’, backed up by multiple split 7”s, extensive touring and support slots, the influences of 60s pop, soul and doo wop, plus the occasional garage smack, have been worn firmly on the sleeve. A trait often criticised, but one which if done well and with ingenuity is to be admired. The high points on the record take these touchstones and buff them into something beautiful. Lead single Get a Grip’s driving pop provides a plucky undertone to Jones’ lovelorn, meanderings as he confides “I find it hard to get my head out of the right side of the bed”, while the jangling lilt of Jones’ guitar on Doing Time has a timelessness that may sound simple but is missed so often by others attempting a similar feat.

Spectrals - Get A Grip by Slumberland Records

Unfortunately, there are aspects of this debut that drift without making much impact, which is perhaps where the delving into multiple musical pots makes for an inevitably mixed whole. Where Spectrals’ live shows and Jones’ charisma conjure a fuzzy warmth and throwback atmosphere, at times the record is a tad mundane and predictable, making its low ebbs such as Many Happy Returns pass almost unnoticed compared to the earlier teenage crush and garage blast high of Big Baby. Confetti has the lyrical intricacy and pop playfulness of Alex Turner or Paul Weller over classic 60s beat pop, however its peak is followed by the easy listening snooze of Luck Is There to be Pushed, which is reminiscent of Simply Red and is rendered impotent alongside the far superior tracks Jones is clearly capable of. Two sides to the coin indeed, but on one there’s plenty to admire.

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