For those of us fortunate enough to have connected with the first Humanist album, the news that Rob Marshall was to return with a new album entitled On The Edge Of A Lost And Lonely World, will have created much excitement. Released prior to the Covid lockdown, the former guitarist of Exit Calm brought in guest vocalists and was on the cusp of great things when things were on brought to an abrupt halt. You may also have heard some of Rob’s songs already as he was co-writer for Mark Lanegan’s Gargoyle and Somebody’s Knocking albums. Further tragedy hit when Mark passed away, the pain of all of this sadness manifests itself on this second Humanist album. Once again employing guest vocalists, this album finds Rob further enhance his credentials as an excellent songwriter and hugely creative force when it comes to stunning instrumentation for his collaborators to excel with.
The album opens with ‘The Beginning’, all blazing guitars creating an apocalyptic atmospheric as Carl Hancock Rux sounds like a manic street preacher with a fiery impassioned vocal. There’s lovely Cocteau Twins guitar and bass tones in ‘Happy’ as Ed Harcourt charges through a wondrously melodic song that harks back to halcyon days of indie discos. The sublime ‘Too Many Rivals’ is a contender for song of the year, the melancholy weight of Harp’s Tim Smith and his stunning vocals, combined with the lyric of “My Mother cried and said, you know I’m with you” absolutely destroys me with every play. It’s a truly gorgeous track that aims for the heart and splices it in two.
Ed Harcourt’s husky tones soar in the uplifting chorus of ‘The Immortal’, reminiscent of prime Depeche Mode. James Cox’s harsh tones sound bilious over the sharp synths and haunting voices that permeate ‘This Holding Pattern’. Dave Gahan featured on the first Humanist album and he also does an impeccable job as guest vocalist for Soulsavers. As he grows older his voice becomes richer with a deep boom that bursts with emotion, as it does here on ‘Brother’, a plaintive song that erupts into an epic finale with lush instrumentation and some lovely Edge-like guitar melodies from Rob.
Black Rebel Motorcycle Club’s Peter Hay sounds as cool as ever with his effortless gliding vocals over the booming beats and soaring instrumentation of ‘Born To Be’. Rachel Fannan is mischievous and beguiling on the twitchy Curve-like ‘Keep Me Safe’. It’s so good to hear the striking voice of Glasvegas’ James Allan. His Scottish brogue and emotional croak pulling on the heart strings with a tender delivery that nearly falls apart during the big finale of ‘Dark Side Of Your Window’.
‘Love You More’ is a beautiful countrified ballad with some gorgeous slide guitar as Isobel Campbell lays out a tender whispered vocal. Finally, Rob takes a turn to use his voice, under the pseudonym of Madman Butterfly for the final trilogy of songs. The beautiful but brief ‘Lonely Night’ is the first track, which finishes just as it gets going. Next up is the ghostly beatless virtually instrumental ‘The Presence Of Haman’. Closing track ‘The End’ also features Madman Butterfly with some almost operatic wordless vocals that aim for the heavens.
Like the aforementioned Soulsavers, and the Unkle project James Lavelle used to run, when done well collaborative efforts can be rewarding enterprises. Rob Marshall has really got the knack when it comes to pairing songs with performers and the overall feel of this album is one of coherence and it never comes across as a compilation. The instrumentation throughout is perfectly executed with good use of dynamics as some songs swell at the end letting the vocalist flex in some instances. Hopefully the inclusion of this stellar line-up of guests leads to a wider reception of new listeners for Rob Marshall as his prowess as a songwriter, and creator of great music, continues to rise.
