'Dangerous Parking' by Stuart Browne is perhaps made that little more special as a novel in the knowledge that this was the author's one and only book before his untimely death. The tale of the decline of an alcoholic has all the more impact if you know this before you read it, and when you realise you're enjoying it, you try and savour every word because you know that this is all you are going to get.
This eponymous album from THE ROYAL WE can be treated in the same way, albeit with less tragic circumstances (no-one has died here). But by the time you hear this album, the band will have effectively ceased to exist. It's a logistical thing – these musicians paths crossed over the space of a couple of years in Glasgow, and now they are going their separate ways. This eight-track mini-album will be their only release.
Which is damn shame.
This release is packed full of energetic, inventive, tuneful but chaotic songs; the sound of an effective ensemble. The ideas are essentially rather simple, but with the many elements being input, it gives it that edge that either makes these things work or not. At times the build up sounds like an understated version of Arcade Fire, yet at other times the ideas are as simple as a Charlotte Hatherley solo album. That is perhaps where this band have worked so well – the songs start rather intimate and acoustic, but as they carry on, more and more is introduced (drums, string, ooooooooooooh'ing) without you really noticing it until all of a sudden you're in the middle of a stage filling stomper.
As a whole it's an album that starts quietly and departs screaming. 'Back and Forth Forever' is the sound of Euro-folk; sweet, simple and strangely beautiful. The contrast between the songs is great, yet the change is seamless. 'All the rage' brings in a full band and from thereon it gets louder. “That Ain't Sweet Love” is a particular highlight early on; it sounds like The Long Blondes on a very good day. Album highlight is 'French Legality', where all of the good elements of this album are used to great effect.
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Jihae Simmons has a singing style influenced by the female indie-stars of the mid-nineties, and it works well out of it's usual four white men with guitars backdrop. It's Louise Wener battling for the mike with Debbie Harry, mixed in with a positively European twang – a little bit naughty, but a little bit girl-next door at the same time. She has an impressive range, from gentle whispers to literally screaming.
The chanting style that is littered all over this album is used to great effect – building up songs and leaving lines wedged in your head. The choruses are memorable (such as the “Stop, drop and roll” hook that defines “Three is a Crowd”), catchy and bound to put a smile on your face. The sound is optimistic and this album could definitely spread a bit of happiness where-ever it is played.
It is a great shame that this band will make no more music together; this is a strong debut with enough creativity to last a whole career. Still, no-one can accuse them of outstaying their welcome, and there's no chance of them disappointing their fans in the future.
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