CAPTAIN WAILBERFORCE is the brain child of one Simon Bristoll. A resident of the ever-creative West Yorks hinterland, his debut album 'Mindfilming' was given a positive once-over by W&H'S Sam Saunders on release in 2005.
Since that time he's been beavering away at his craft and even quietly woo-ing elements of the U.S power pop cognoscenti. His sophomore effort, the largely rather excellent 'Everyone Loves A Villain' was released in the U.S during 2008 and was lapped up by the critics long before it finally sees the light of day this side of the pond.
So it's very much a case of better late than never. 'Everyone Loves A Villain' is a consistent, well-crafted affair, which often (but not always) lives up to its' quintessential English billing. Bristoll sings in a lilt that's not a million miles south of either Ian Broudie or Glenn Tilbrook, while songs such as the no-nonsense 'Get A Grip, My Dear', the cheeky, XTC meets Badly Drawn Boy of 'Born Again Brand New Man' and the sweet harmonies of 'You Must Remember This' show Bristoll has a solid grip on the quirkier roots of Britpop.
However, while Bristoll's English songwriting heart may often be displayed on his sleeve, it beats strongly enough to ensure his own identity isn't submerged either. Thus, while the title track may immediately recall Andy Patridge or Ray Davies (the harpsichord is pure 'Something Else' era Kinks), it's got an edge and energy all its' own and the Celeb-obsessed lyric places in very firmly this side of the Millennial divide. And there are also times when Bristoll's influences drift across the Atlantic too: witness the dramatic, controlled power pop of 'The Longest Night (“there are worse things than ghosts, you know, haunting these streets”) which echoes The Lemonheads at their most yearning and direct.
Elsewhere, Bristoll's songs display a refreshing lack of lyrical sentimentality which is welcome in the current schmaltzy scheme of things. Pithily impressive opener 'No Strings Or Ties' finds him in modern day Terry-Thomas mode, dismissive of a relationship he's keen to leave behind. “What's with the animosity and why the sulky face?/ we had a lot of fun, now it's over and I need my space” he sings, leaving the door open wide for the consequences of a woman scorned. There's also a twinkle in dashing Si's eye on 'A Different Sea', where he notes “there's still more fish in the sea”, but whether he's being arrogant or realistic is up to you to decide.
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Musically, 'Everyone Loves A Villain' is a textured, well-built affair, with Bristoll playing and impressive 95% of the instruments. A shout must also go out to drummer Carl Banks, though. He's a study of controlled power and invention throughout and his playing on songs like 'Get A Grip, My Dear' and the Who-style dynamics of 'Don't Get Me Started' is little short of sublime.
One stylistic shift this reviewer has detected of late is that many albums seem to be favouring the 'acoustic postscript' finale option these days and 'Everyone Loves A Villain' plumps for such a conclusion, courtesy of the deceptively sweet and sparse 'The Twilight Kids'. I say 'deceptively' because, ultimately, the song's subject matter is the apocalypse. Nonetheless, while Bristoll tackles the lyrics with tangible regret (“so at last the Earth is dead/ sun dissolving in bloodshot red”), the music treads softly, with a rare gravitas. It's sincere and likeably bittersweet and a good way to go. I hope not terminally, mind.
Captain Wilberforce, then, is a nom de plume to conjure with. 'Everyone Loves A Villain' may well be a universal truism, but it's also an accurate title for the rogueishly fine pop sounds contained within. Go on, be a devil and indulge.
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