Pocketbooks’ new album, Carousel, is a tale of two cities, but there are a few constants that run throughout it, including indie pop tones, interweaving melodies, poetic lyrics and the heart of a romantic storyteller. However, the divergence comes in the split of vocal duties between singers Andy and Emma with the female part being the much stronger. It’s criticism that they’re probably used to following the release of their debut album, Flight Paths, but then maybe the comparison makes the positives stand out all the more starkly.
Opening song, Fireworks at Midnight, exemplifies Andy’s vocal fragility, but it acts as a great counterpoint to the sheer quality of Promises, Promises (free download below), which is by far the best track on Carousel. Both songs have the same poetic raconteur lyrics, but it is the beauty of Emma’s vocals that stands out from the opening tracks of the album, along with some great strings accompaniment.
It’s a theme that continues throughout the record. The Sky at Night is scatty vocally with Andy at the helm. Even when Emma sings backing over the top, it still isn’t quite right, lacking the entwined duet that is could have been. However, Sounds of the Carnival, leaves Emma’s vocals a little too isolated making you wish they’d had a bit more time to play around with the vocal interchange a little more. The palm-muted guitar flicks that back up the song are great, but overall it’s a bit too much like the introduction to a carni-based Broadway musical.
Sparklers is a lilting tale of love and loss that continues the pop musical feel of Carousel. It’s followed by Gaumont State Cinema, which in many ways is a lot like Sparklers, but it doesn’t quite work as well, lacking in any notable surprises. A building electric guitar with a pounding drum ending would have done it a world of good.
Harbour Lights brings more pace to the album and contains Andy Hudson’s better vocals with a good interplay with Emma’s female backing. Reminiscent of an early 60s romantic comedy soundtrack it’s got indie-pop fun rippled throughout it. A classical piano refrain opens up The Flowers Are Still Standing, a slow, string backed track of short and sweet proportions.
The Beaujolais Lanes continues with the romantic movement with a journey to French wine country, but Five Day Forecast doesn’t quite work, despite the guitar riff that runs through the chorus. The End of the Pier closes the album with sombre piano notes .Alone, Andy’s vocals are clutching, but placed next to Emma’s during the chorus they’re filled out with a bit more surity, but even here it would have been nice to have a bit more cow bell in the mix.
At its best, Pocketbooks’ Carousel is catchy indie pop of finger clicking proportions, but at its worst it’s lacking in the dynamic interplay needed to make a boy girl album work. Where Cults played to their strengths, Pocketsbooks have flirted with them at times and callously ignored them at others.
Pocketbooks, Carousel album review: 3/5
