Four lanky brown-haired chaps and a pretty blonde walk into a bar…
No, this is not a joke. Far from it. I’m referring to the mighty Duke Spirit, one of the best rock bands to come out of the UK in recent memory. They walk into a bar and head to the stage. They set up, tune up, and then they bring the house down. By the end of the show, every girl wants to shake her hips and rattle a tambourine like singer Leila Moss, and for the guys there, all thoughts of impersonal coitus–“fucking,” “having sex with,” “I thought you said you were vegetarian”–are out of mind. It’s all about making love from here on out, son. If you ever have a chance to see The Duke Spirit live, you must do so. But until then, their sophomore LP, Neptune, will tide you over.
Tide is a fitting word. Like the album’s title suggests, Moss has an affinity for sea-related metaphors and imagery. And like fellow contemporaries Blood on the Wall and The Raveonettes, Moss’ apparent sexual appetite is a bit intimidating and pretty awesome. But hers is sex in the context of love, sex as deep as the ocean. Imagine Nico with more heart, Hope Sandoval with less ennui–you’re halfway there–then think of Kim Gordon, Katrina Ford. Actually, to hell with comparisons. Just listen to Leila Moss. Focus, focus…okay, there. Now isn’t that nice? You’ll be lighting up a stale cigarette in no time.
But I digress. The songs…
“I Do Believe” is a curious gospel aria and a deceptive opener because it’s immediately followed by the whiplash start of “Send a Little Love Token.” Producer Chris Goss adds an insistent one-note piano riff alongside the opening bass line, a clever trick he used to subtler–and better–effect on Queens of the Stone Age’s “Go with the Flow.” The song, like a good third of the album, is a stomping tear down the lost highway, fueled by Toby Butler’s driving bass lines, Olly Betts’ complementary Stax drumming, subtle guitar heroics by Luke Ford and Dan Higgins, and Leila Moss’ lush vocals (check out “Into the Fold,” “Lassoo,” and “Neptune’s Call” for further proof). The Duke Spirit’s intentions are clear: these are songs that will destroy small, sweaty clubs, but are ideally suited for stadiums. The majestic build-up of the album’s centerpiece, “This Ship Was Built to Last” (complete with a horn section stolen from Rocket from the Crypt or Spiritualized), is the most successful realization of their ambitions. Opening for the likes of Queens of the Stone Age, Yeah Yeah Yeahs, and Kasabian has influenced the ‘Spirit’s writing process in no small way.
Ford and Higgins’ dual guitar attack ranges from ethereal filigrees to wah-ed out bursts of fuzz to peals of distortion-drenched chimes. The result of their partnership is unquestionably skilled but tastefully minimalist–no pretension here. But, that’s also where the problem lies. There’s a slickness and an accessibility on Neptune that was only hinted at on their debut, Cuts Across the Land, and I miss the artful rawness that pervaded that first album. On Neptune, it’s the bass, the drums, and even the piano–refer to “Dog Roses,” “My Sunken Treasure”–that are mixed to the fore, and at times, the guitars seem ghostly, fleeting, then gone. But that’s not to say the album doesn’t stand on its own merits. It’s a solid record, full of well-written songs, varied tempos, and expanded artistic horizons. Still, if you’ve heard Cuts Across the Land, it’s impossible to listen to this record and not compare the two. The heaviness is missed. After a few listens, one is left with the distinct feeling of wanting something more, and at times, the songs sound so polished that they seem to almost slip from memory, leaving only the faintest of impressions. (But that might just be me. I was at a bar in Venice last night, and at one point, the DJ played “The Step and the Walk,” Neptune’s first single. If the bobbing heads indicated nothing else, it seems that the band will be winning new fans with this album.)
The Duke Spirit dive deep into the sea of their influences with Neptune–blues, garage, noise, soul–and the recorded results are confident, competent, and often compelling. On the surface, it seems easy to pick out the bands that inform their sound: The Modern Lovers’ debut album, the Velvet Underground’s first couple albums, The Jesus & Mary Chain’s entire catalog. But it’s the soulful quality of the tunes that makes this band more than just nostalgic proto-and-post-punk revivalists. It’s just unfortunate that some of that ferocious passion and earnest emotion seems muted on this album. While Neptune is a fine introduction to The Duke Spirit and a serviceable follow-up to their debut, it’s somewhat of a letdown when one considers what they’re capable of. To fully appreciate these songs, catch them in concert. Hear the songs with the added grit that only live shows afford. In short, go get filled with the ‘Spirit; falling in love will never be so easy. And if you miss an opportunity like that, well, I’m sorry, but the joke’s on you.