BSP initially drew much attention to themselves with their so-called Club Sea Power events in the early noughties, here in Brighton, that included curiosities like a retro fashion show and hosting a performance by the first family of folk, the Sussex based Copper family. It was 'art', without much overt meaning, and playful, whilst being semi-serious. Of course they headlined their own events and soon word of mouth spread about these noisy post-punk-new wavers, who added a layer or two of intellect into proceedings, as well as harking back to a perhaps more innocent and simplistic life. Indeed, BSP can now be seen as somewhat at the vanguard of a movement for all things vintage, 'Keep Calm and Carry On' sloganeering and rustic bread. Neil Hamilton Wilkinson (bassist, singer and songwriter) himself has recently moved into a croft in Scotland… And while there was a certain contrivance with the bands image (sporting retro cycling tops before it became fashionable again; employing singular stage names such as Yan, Hamilton, Noble and Wood), their combination of a generally raw and noisy sound palette with pre-rock'n'roll fashions and statements (such as woodland noises emanating from the stage, dressing the stage with foliage, etc) was/is an odd juxtaposition that appealed to the maverick/irreverent in us.
 
Released on Rough Trade in 2003, TDOBSP slowly became an underground hit, eventually chalking up 60,000 sales, and providing the springboard with which to establish a career, that while not quite hitting the tallest peaks, has nevertheless been remarkably steady, continuously impressive, and successfully inventive (such as their collaboration with The Wurzels, their use of unusual venues, and their soundtrack work). Building a notoriously loyal fanbase, and combining interesting and somewhat sideshow stage dressing (tree branches and foliage, large Russian bears etc) they became more than just a band, albeit a great art rock band, one able to hit the heights on occasion with songs such as Waving Flags, It Ended On An Oily Stage, No Lucifer and Machineries of Joy.
 
With influences ranging from The Pixies to David Bowie and post punkers such as Joy Division, BSP generally made an unruly noise, never more so than here, particularly on the first two tracks (following from the short intro that involves just choral voices), the highly Pixies derived Apologies to Insect Life and the equally furious thrash of Favours in the Beetroot Fields. These very raw yet potent outpourings give a slightly wrong impression of BSP, as from here in on it's a more considered, less punky band, beginning with the early Inspiral Carpetsesque Something Wicked and then the huge and searing chords and riffing of Remember Me, a song that remains an integral part of their live set to this day, like a meatier and meaner Manic Street Preachers. It sounds very live in the studio, Yan's vocal a bit shaky at times, and veering off mic. But it's big and passionate.
 
Fear of Drowning is another all-time BSP favourite, a tune that shows them at their most dynamic; space and claustrophobia co-exiting in harmony, the lyrics pointing to a desire to find roots and identity, in this case here in England… ' Oh little England/Tonight I'll swim/From my favourite island shore/And how long has it been/Since you have seen so beautifully' while The Lonely takes it down a notch or two, as Yan again confronts his fears, but with a steely resilience: 'So take it back, back to the start/Rip out your lily livered hearts/And hand them over in a vacuum sealed jar/I say I will not take half the risk/I will not walk half deceased/I believe bravery exists'. Carrion (a track originally named British Sea Power, which the band eventually adopted as their name) is another long-term favourite amongst fans; it's beautiful poetry carrying within it the seeds of Britain past and present, and how British identity has evolved and survived within the geographical constraints of being an island. And how actual British sea power has been integral in shaping that history.
 
Things don't always work; in particular the overlong 14 minute Lately has a great first half, acoustic opening turning into mildly epic balladry, but the next seven minutes see the band gradually turn up the heat, Lately becoming an extended and shouty noise-guitar jam, that whiffs of over-indulgence. It isn't everyone's cup of tea (what is?), and certainly classical rockists/new wavers have struggled to get to grips with BSP's sometimes archaic look and references, as well as the rather less than pitch-perfect voices of the lead singers, the brothers Yan and Hamilton. Still, rather than the beginnings of a decline, The Decline of British Sea Power was just the beginning of something thrilling and interesting. And all rather British, too…
 
The re-release of the album comes with loads of extra material, including B-sides, live tracks, alternative takes and demo recordings. Although some of the B-sides could have a found a place on the album, most of the extras are largely for hardcore fans and completists.
Jeff Hemmings