Jonny Du Bois & The Hoo-Hah Conspiracy : 'No Light After Dark'
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Released: June 4th 2010
Jonny Du Bois & The Hoo-Hah Conspiracy have not failed to deliver after 15 months of work in which sweat, tears (and let’s hope no blood but maybe a little) has gone into producing their latest album. No Light After Dark builds on the success of their second studio album, Tips & Tricks for the Modern Age which picked up Best Modern Rock Album at the JPF Music Awards 2009. For readers who remember, I was fortunate enough to get a chance to write a review on Tips & Tricks and boy was I glad to be woken from my trend slumber by a band doing what they wanted for once and not just buttering the assholes of the current musical zeitgeist. Because as we all know originality is not lemming shaped. So my point is made. It is much the same with this album in the sense that Jonny Du Bois has proved himself to be once again braver and bolder than a pair of brass testicles. I’ll give you an example with the lyrics from the first song on the album, ‘Northern Lights’:
I didn’t mean to; mean to marry who I did
Life’s not much fun; when you’re lumbered with a kid
I appreciate the directness of the first track. I, naturally, want to learn more. I am neither betrothed nor bechildrened which is a word used by Dave Bidini when he refers to this condition in the fourth paragraph of his article on camaraderie boosting activities for Hockey Mums. He used it so it’s a word now. The first track stirred the blood, and that’s usually a good sign. The second track, ‘Yesterday’ raises many potential questions about the past history of Mr Du Bois who is a curious fellow. I hope he has done all of this stuff? Do people recall how moist-yet-sand-blasted the cast looked in the Mad Max films? Call me strange (you wouldn’t be the first, I hope not the last) but this track conjured some kind of fragrant desert montage brimming with half melted sultry gestures from actors in exotic poses. The digital drum samples, piano embellishments and narrative voice over demonstrate a willingness to experiment and carry the art form further.
The band’s affection for 80’s new wave and alternative electro rock is in itself infectious. They channel these influences in track number three, ‘Gene Kelly’. This is one of my favourites not least because it kicks off like a Depeche Mode/David Bowie mutual agreement. Don’t be fooled by thinking that this band subscribe to a particular genre, they really don’t. By the time the chorus hits we are looking at a kind of burlesque theatrical rock approach. I attempted to find a particular genre for Jonny’s band. In my search I was unsuccessful. For despite their records being called Modern Rock for the easy classification purposes of awarding bodies (whatever modern rock means, anything that remotely incorporates overdrive on an amp setting maybe?), they are hard to place, and better off for it. In certain respects Progressive-popular-rock/sub-genre-non-specific may even be closer. Categorisation is not necessarily always a simple process.
As the album progresses it becomes apparent that the priority is on the narrative, the story. The lyrics are delivered straight from the gut. They are for the most part a mix of cutting social observation and personal memoir with the stabilisers fully removed in terms of the quality of what this band can achieve musically. As with the previous album, Jonny’s lyrics, song titles and approach establish a unique learning curve. Musical style and form are selected based on the guiding emotion of each song. The band does not look to create an album that fits into a consistent form per se but more of an exploration of all that they can produce. For an act who can write in what seems to be any style (and based on what I heard from the previous album) I don’t foresee any limiting factors for the future.
‘How Beautiful You Make My World’ pains me as my cynicism knows no bounds. However, it is further proof that turning your talents to any musical style can result in a superbly crafted final product. From dance rock, to burlesque alternative pop, to ballad in the space of six tracks is impressive.
Part way through the album you may find yourself asking THIS question. Jonny, where did you get your drummer from? Be honest and admit you dragged him out of a Broadway rehearsal up to his eye teeth in diazepam in a bag and the rest is history? There is a hotline for the safe retrieval of session musicians, but I’m not sure what it is. The above comment relates mainly to track number 7, ‘Katya’. The track itself could be making loose reference to the three act opera by Leos Janacek. It may not be. It’s hot property whether it is or not. ‘Nicky Narcissus’ opens like a track from U2 post Joshua Tree for approximately six seconds. Then they break in with an almost effortlessly lilting take on a 2 tone ska-pop jolt packed with exciting character assassination narrative. This track is gripping, expertly crafted, and contributes further to the argument that variety tastes, sameness doesn’t. It also essentially forms the hypothesis to something Madness would like to achieve now if they weren’t taking time out to advertise fish fingers.
You should really listen to the album preceding this one, Tips & Tricks For The Modern Age. If you do this you’ll gain some insight into the musical mechanics behind Jonny Du Bois. ‘Fluoxetine Ravine’ on Tips & Tricks is the second to last track. On this, the most recent album the penultimate track is titled ‘Lost At Sea’. The thing is it ebbs with atmospheric phosphorescent beauty and many colours as if I’d perished a new kind of spliff across the face of an indigo sunset. There are some structural similarities to the two albums. The evidence for this can be grasped at if you listen to both these tracks one following the other. Is it that these albums are to form a grand narrative? I don’t know Jonny, let’s have an interview and find out? Now that’s enough time spent jumping off the page. In my view the album ended on track nine. I thrive on ambiguity served up with melancholy to dip it in. I also disagree with only listening to your favourite tracks over and over on an album, this is called the ‘pop single syndrome’ and crucially you must note, this is a tragic practice to get into. If you do fall fowl of this, soon enough you’ll be purchasing pressure washers off of TV sales jackals.
After many listens I grew to love this album. And I don’t talk cheap, although talk is essentially cheaper even than Lucky Strike these days. It is necessary you listen to this album, or it is necessary you start buying from channel 300 + where the fuck’s my wallet. You choose, but I prefer these guys.
Words: Phillip J Cogger
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Reply #1 on : Sun April 01, 2012, 00:26:38