Shed Seven
Instant Pleasures

Sixteen years is a long time, especially in a world like that of British rock, filled with one-season wonders that haven't left their mark or could have but were born in the wrong period.

The Shed Seven belong to the second category: fourteen singles in the British top 40, three albums in the top ten, a charismatic singer with great vocal abilities like Rick Witter, and one of the best guitarists in the British rock scene, Paul Banks, were not enough to overcome the shadow of giants like Oasis, Suede, and Blur.

Now, after sixteen long years and a long period of live "rehabilitation" (since 2007), the five from York feel ready for the big comeback and release this new "Instant Pleasures" through BMG Rights Management, produced by a big name like Youth (former Killing Joke already worked with giants like U2, Cult, and Verve). And the wait has really done good for Witter and the others because it resulted in a beautiful album, perhaps the best after the unmatched duo "A Maximum High"/"Let It Ride".

It’s an album strongly tied to the britpop tradition; classic, monolithic, and focused on guitars. Very few concessions to more à la page fascinations ("Enemies And Friends"), but a lot of care in songwriting and instrumental parts; particularly Banks' guitar draws paths of unexpected substance and inspiration, as in the single and opener "Room In My House" (truly a comeback with the balls on the table).

The tracklist flows pleasantly between more energetic pieces enriched by Witter's gritty interpretations ("Nothing To Live Down", the closing "Invincible" which seems stolen from a Richard Ashcroft songbook) and truly stellar ballads, balanced and inspired even if sometimes a bit lengthy (see the entry "It's No Easy", a nice basic idea but it stretches out a bit too repetitively despite Banks' umpteenth creative effort, and the lightning-fast "Better Days", hands down the band's best track in years).

There's no point in looking for innovation here, but there is a lot of inspiration and creativity, as if it’s almost a debut album from a young band. A great subtle return among this year's big-name comebacks.

Definitely the surprise of this last quarter of British music, hoping it's the definitive relaunch of a band far too criminally undervalued.

Best track: "Better Days"