Big Balloon thumps and thuds, flexes and stretches. Dutch Uncles have clearly made a conscious effort to produce a hard hitting guitar record that packs a punch and boasts a singular identity. Whilst there are many great moments, Big Balloon ultimately lacks the charm and imagination of previous releases. If this was a debut or sophomore release, it would be hugely impressive, but it’s not unfair to expect more from a band who are now five albums into a ten year career. Surely this is the point to take bold new steps?

There is a case to be made for Big Balloon being a brave move – songs are faster, tighter, harder and brasher. Dutch Uncles have honed an already finessed sound. Guitar is a shining focal point and the riffs here are muscular, nowhere more evident than on the title track and album opener. ‘Big Balloon’ smashes through the speakers with a breakneck brassy bassline and blockbustin’ drums. ‘Combo Box’ is even more irrepressible with screwball, inside out leadlines; its twisted funk opens out into an unexpectedly sleeky chorus that serves to tee the song up for a return to the addictive groove of the verse. However, too much of one thing is never very good for you, and it is when the album shifts its focus away from altar of the guitar that provide it with its golden moments.

‘Achameleon’ introduces the most interesting and rewarding section of the record with an atmospheric cut that intertwines piano and strings, carrying potent emotional weight. Despite yearning for a lover to change their ways, there’s a palpable hope in the song’s spirit that mirrors more obviously positive lyrics elsewhere on the album. There’s nothing else like this on the album, and I can’t help but wonder if this is a mistake on DU’s behalf?

Following on from this is ‘Hiccup’ – classic Uncles’ material – XTC-flavoured pop, jaunty and playful with slick production and unorthodox hooks. ‘Streetlight’ carries on the 80s-inspired run – this time Orange Juice-styled guitars counterpoint a bass-propelled groove, in a song containing characteristic shifts in key and a hooky yet ethereal chorus.

‘Oh Yeah’ completes a trio of lighter mid-album tracks. It kicks off like 1999-era Prince with a great pop swagger. With lyrics like “Got a haircut for my shadow / I eat a lot of Avocado / I drink wine with a halo”, it is music to bring a smile to your face and tap your toe to, that manages to be infectious and engaging yet sophisticated and full of detail.

 Final track, ‘Overton’ also stands out. Whereas the riffs are undeniable on this song (as they are throughout the album), there is a much more intriguing arch to the composition and a greater ambition in the arrangement. The guitars are in full force here but the balance is better with other elements of synth, piano and spooky backwards backing vocals. It’s the interlacing of rhythms, textures and instruments that mark out Dutch Uncles from their peers and what lead me to believe that they are very close to making a truly outstanding record.
Adam Atkins

Website: dutchuncles.co.uk

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