Think of New York City's coolest sounds and invariably it's influentially gritty street-smart poets (Lou Reed), angular guitar exponents (Television, The Strokes, Talking Heads) or the Hip-hop explosion that tend to spring to mind.
However, in recent times the Big Apple has been quietly been presenting a case for the sharpest, intelligent orchestrally-inclined pop sounds going down courtesy of imaginative writers/ arrangers such as The Magnetic Fields' Stephin Merritt and under-rated, but brilliant collectives such as Jim Sclavunos's fantastic Vanity Project.
And, just to reinforce the strength in depth New York is jealously hoarding in terms of dynamic, literate and ambitious modern-day pop, may we proudly present THE SHARP THINGS, with their tremendous second album "Foxes & Hounds."
The eagerly-awaited follow-up to 2003's critically-acclaimed debut "Here Come The Sharp Things", "Foxes & Hounds" is an accomplished second collection of songs emanating from the pen of vocalist/ pianist Perry Serpa and embellished with some skill and panache by the disciplined, twelve-strong-band.
Opener "There Will Be Violins" gives you some idea of the scope of this band's capabilities. Serpa's fascinating, neo-surreal lyrics immediately make their presence felt (e.g : "I may be a red-headed stepchild in flannel pyjamas, but I have the gift of seeing tomorrow"), as does his imposing vocal, while with arch strings swooping and drums being brushed impatiently, the band mainline on drama akin to the best of Bacharach and Jimmy Webb.
It's by no means a flash in the pan, either, as songs like "Homeless" and "95 St.Marks Place" soon make abundantly clear. "Homeless" is built around a tremulous piano riff and makes like Randy Newman sitting in with the Tindersticks, while the grand designs and swelling choruses of "...St.Marks.." demonstrate that The Sharp Things are pretty damn effective where swelling string arrangements and full-blooded atmospheric pop are concerned.
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But that's by no means the whole story and indeed "Foxes & Hounds" proves that The Sharp Things are remarkably versatile when tilling a variety of sonic fields. For example, try the swoony delights of the Gamble & Huff-meets-Pulp "She Left With The Sun" on for size; or nod along approvingly to the nagging, surprisingly guitar-heavy thrills of "These Dreams Of You Are So Much Sweeter Than The Truth": a Britpop-influenced showstopper with a title that Morrissey would surely entertain.
Hearteningly, they work hard to ensure the quality control never dips, and indeed there are further highlights galore, not least courtesy of the sensory-assault pop with manic Arabesque strings that is "50 Heads Over High Street" and the easy-to-recall anthemic sway of "Hard Life" and its' magnificently melancholic chorus.
But really this is a complete and well-rounded affair with precious few weak spots and indeed a relative oddity like the enigmatically short, Reggie Perrin pop of "Letting Go" (sample lyric: "He stood 6 ft 2 in bare feet/ she was half his size if that") seduces you with ease before coming to an abrupt halt. It all adds up to a beautifully-conceived album written with skill and imagination and executed with considerable aplomb: culminating in the belief that with "Foxes & Hounds" The Sharp Things are surely in the hunt.
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