It's taken 19 years for the legendary Scottish indie rockers to release a new album, only the seventh in a career that stretches back to the early 80s. Has it been worth the wait?

Their recent Psychocandy tour whetted the appetite for many fans, old and new, and it seems that as well as being able to stand each other on the live stage, they have decided they can work together in a studio again (their previous album, 1998's Munki saw them record their bits individually), although for the most part the songs on Damage and Joy were written separately – and indeed some were written years before, not least because of the fact that William Reid has been living in Los Angeles these last 16 years.

It would be hard to imagine TJAMC doing anything other than what they have done before, such is our notion of what a TJAMC song sounds like: fuzzed-up and leathered goth-pop on valium at times, and a reverb-drenched wall of noise transposed and subverted from the innocent idealism of the Spector-era 60s, at others. It's not as if they are threatening to get their acoustic guitars out and perform some sunshine pop any time soon. And so, remarkably, while slightly toned down a notch or two compared to the barely disguised menace of much of their early work, and with their previous penchant for feedback replaced by a new love for squelching analogue synthery, TJAMC sound pretty much like they always did. Their trademark back-to-basics rock'n'roll, with added Phil Spector-esque Wall of Sound aesthetics is still intact, as is their tuned-in ear for early surf; think The Ramones, Suicide, and noisy and early Velvet Underground minimalism. But Damage and Joy also features more of that mid-tempo American-inspired Teenage Fanclub grungy grooviness, as well as a re-visit to Primal Scream pastures circa 1990, both of course quintessential Scottish indie-rock bands of the post post-punk period.

Produced by Youth, who also played bass, the new 14 track album also features guest vocals from Isobel Campbell, Sky Ferreira, and William Reid's younger sister Linda, as well as newcomer Bernadette Denning ('Always Sad'), who is William's girlfriend. This is also a relatively new departure for the band, perhaps inspired by Scarlet Johansson's infamous stage appearance with the band back in 2007, but also by the brothers’ work with Linda on the 2005 album Little Pop Rock by Sister Vanilla. Moreover, they have resurrected a fair few songs from this and other sessions/projects which they wanted to give the full TJAMC makeover. This includes lead track 'Amputation', a re-working of Jim's solo single 'Dead End Kids', about the difficulties he had in gaining any recognition for what he/they did beyond JAMC (no doubt a big consideration in keeping the band name afloat. It is a recognised brand, after all): "Trying to win your interest back / But you ain't having none of that / You're just like a ship in a bottle / Kiss today but fuck tomorrow / I don't know, I guess that we're all through / I'm a rock and roll amputation". Similarly re-worked, the infectiously rocking 'All Things Pass' was originally recorded back in 2008 and was included on a TJAMC compilation a couple of years later. It's a tale of looking forward with a regret or two in the mix: "I have taken a vow to prove myself to find me". And 'Song For A Secret' is a Spector-esque-meets-Primal Scream re-working of a 2005 track, featuring Isobel Campbell on vocals. Moreover, the sweet mid-tempo rocker 'The Two of Us' (where Jonathan Richman's 'Roadrunner' morphs into Teenage Fanclub) is a re-working of a track on the aforementioned Sister Vanilla album, as is album closer 'Can't Stop the Rock', an upbeat in-the-face-of-real-life ode. "And I'm falling, and I'm happy," they sing in unison, a reflection of the album’s title.

The album is too long though, with some of the material here, particularly the more freshly minted songs-lacking direction and energy, such as the lifeless 'Los Feliz (Blues and Greens)' ("America, the land of the free, wishing they were dead") and the dark grunge of ‘Mood Rider,’ which again fails to rise out if its bed of inertia, while ‘Get on Home’ is an uber simple 12 bar blues piece. Although here, as elsewhere, William does employ some tasty overdriven guitar and hints of feedback, just to remind you that what they do is essentially fucked up, minimalist rock'n'roll. "I spent a night with a blow up girl and some LSD," sings Jim. Well, yes.

There is an undercurrent of what they call “mellow rage” throughout Damage and Joy, but there are enough sweet spots hit to re-assure their older fans in particular. But also, as befits men in the their mid-50s, TJAMC have tempered their innate musical and lyrical aggression with more thoughtful nods to their past, and indeed forward moving and positive thoughts about the here and now. But, essentially, they haven’t gone all soft on us, and remain a reminder of why they sounded so potent back in the derelict wastelands of mid-80s British alternative rock. And yes, it has been worth the wait.
Jeff Hemmings

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