By Geoff Topley
Even though I've been aware of Dublin band Bell X1 since second album Music In Mouth, I wasn't aware of the fact that after U2, they have the most radio airplay in Ireland. Chop Chop is their sixth album and finds the band being produced by Peter Katis (The National), a perfect match given this album's intentions. I've been pretty much ignoring Bell X1 since Flock, but that's to my detriment, if Chop Chop is anything to go by.
The opening trio of songs on this album manage that rare feat of really hitting the spot, like a sublime 180, first dart good and well placed, second dart adding a little difficulty and the third, perfectly positioned to make a sweet combination. 'Starlings Over Brighton Pier' is a gorgeous opener, a melancholic melody brilliantly sung by Paul Noonan, his voice wondrously toned, reminiscent of James Vincent McMorrow. There's a yearning and sincerity in his honeyed tones which glide effortlessly over the backing of skittering drums and shimmering piano. It is beautiful and I'll never tire of listening to it.
'A Thousand Little Downers' has a simple melody, freak-out Flaming Lips moments and a wondrous bridge that would soundtrack a sunset so well. The final track in our triumphant trilogy is 'Careful What You Wish For', a descending piano, gorgeous vocals, reminiscent of Marvin Gaye (yes, that good!), clever percussion and Van Halen fuzzy keyboards. I particularly like the reassuring lyric that "No-one looks good in this light". With a start as good as this, it's going to be difficult to keep the quality momentum going.
The quality of the songs, as high as it is, does tend to dip a little for the rest of the album though. 'Diorama' is one of several songs to tread a little too closely to Elbow for my liking. Of course, depending on your fondness for Elbow, this might well be a great thing. I struggle to invest the time needed to really appreciate them. 'I Will Follow You' also has the tendency to veer in this direction, the beauty of the first three tracks clipped in favour of quirkiness.
'Drive-by Summer' uses a simple beat and minimalist instrumentation to playfully reconstruct The Clash's 'I Fought The Law'. 'Motorcades' is another pleasantly haunting track where the production does a brilliant of job of echoing The National's quieter moments with muted brass. 'Feint Praise' is another highlight, heartfelt vocals combine with lovely guitar flicks to create some long lost 60s soul classic. The album goes for the inevitable big finale with 'The End Is Nigh', but it just put me in mind of Coldplay before they started all the 'experimenting'.
It's a short album at only nine tracks and a swift 38 minutes, but there's clearly been a lot of thought and creative energy put into the making of it. I like the simplicity of the songs and the unfussy instrumentation which has enough diversity in the sounds to keep your interest. Those airplay statistics are going to take another sharp increase, not just in Ireland, but across the world, deservedly in my opinion.
