One of the finest American alt-rock bands of the last 20 years, Spoon reinforce their reputation as also one of the most consistent bands operating today. And like their previous album I Want Your Soul – and arguably their best work, 2005's Gimme Fiction – their mix of experimentation and somewhat traditional pop and rock structures on Hot Thoughts is balanced, colourful, fresh and, in one or two places, simply sublime. Indeed this could be their most eclectic offering yet, a sonically inventive work that flirts amorously with disco, funk, electronica and psychedelia, alongside their idiosyncratic indie rock beats and rhythms. Hot Thoughts also marks a full circle for the band; this is their first album since their debut in 1996 that is being released on Matador.

In Britt Daniel they have thee archetypal rock’n’roller. Responsible for almost all their songs, as frontman he exudes that charisma and look of one who lives and breathes music. Although he is from a middle class/professional background, like a Bruce Springsteen or The Replacement’s Paul Westerberg, there’s a working class attitude to what he does; a gutsy, work hard, play hard ethic, but with a much broader musical palette than the aforementioned. He may not be a household name, but he and Spoon are a relative success in the business, a band who have invariably released high quality records throughout their career, and whose last three albums have all been top ten in the States. That is no mean feat. Whilst not as well known here they have nevertheless carved out a cult status, and their forthcoming UK tour will be eagerly awaited by those in the know.

What also marks Spoon out is their ability to walk that thin, invisible line, whereby their melodious immediacy and the excitement they impart (in true rock’n’roll fashion) is hugely embellished by their extremely thoughtful approach to constructing songs, and the details therein. The end result is intelligent alt-pop and rock songs that stray the right side of pretentious, over-fussiness and a clinical bent that they are sometimes accused of. They have had this approach for years, but on Hot Thoughts, it’s almost everywhere; electronic and guitar textures and flourishes, drum fills, out-of-blue basslines, strings, and all sorts of keyboard sounds coming in and out of the mix here and there. Their studio craftsmanship is very impressive. But they very rarely overplay their hand. After all, this is a band who named themselves after a Can album.

Spoon’s heightened musical adventure is epitomised by the combined lead and title track; a jerky, dancefloor friendly rocker that – with this utmost attention to detail – blends glam, post-punk, psychedelic, and funky shades of rock in this tale of love and lust. Then there’s the difficult to read ‘WhisperI’lllistentohearit’ which feature pulsing keys as Daniel sings of another’s wasted life where the spirit has run dry, before it morphs into a new wave bass-driven track, a searing Rumours-era style guitar solo briefly making an appearance, and some typically succinct and alternately metaphor-rich and earthy lyricism (“You’re a lost letter needs delivery / Someday you’ll be where you should go”). And the massive, upfront ‘Kashmir’-like drum beat of ‘Do I Have To Talk You Into It’ that, combined with Daniel’s half shouted raspy vocal and staccato waves of keys and guitar, drives this spirited and out-there rocker, while a bouncy disco groove and lightly applied effects underpins the poppy ‘First Caress’, with cascading keys simply adding to the deliciousness of the sound. And the ghost of Prince appears on the pumped up minimalist punk-funk of ‘Can I Sit Next To You’, another track that is full of colour and invention, particularly the huge organ chord that pitches down and up in between verses. Whatever they try works. This kaleidoscopic, and sometimes carnivalesque sonic adventurism is skilfully played out right to the end of the album.

At times they bring it down, for the circular electric piano drenched lament of ‘I Ain’t The One’, a foray into more experimental ambient textures via ‘Pink Up’, and album closer, the jazzed-up instrumental ‘Us’. But before that apt closer, Spoon save some of their best for last, with a couple of beauties in the form of the mid-tempo piano driven glam-stomper ‘Tear It Down’, which like much of Daniel’s work, carries just a hint of David Bowie’s vocal delivery (but with added passion) within the strong melodiousness of the music, and the Gang of Four (particularly ’At Home He’s A Tourist’) inspired ’Shotgun’, full of angular guitar strokes amidst the pumping bass.

Comparisons are tricky with Spoon. They sound like a band that combines some of the more exciting elements of rock, pop and dance from the 70s, 80s and 90s, and even noughties. And much of what they do is familiar. But, as is the way with contemporary music, it’s how you combine these influences, inspirations and styles together. Not only do Spoon do this better than almost anyone, they also sound like no other. An early album of the year contender.
Jeff Hemmings

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