Stereophonics
Graffiti On The Train

It has been a full four years since the last release from the Stereophonics, "Keep Calm And Carry On," which made critics, fans, and occasional listeners frown quite a bit. Such a long gap must mean something.

Until 2009, with surgical precision, the Welsh led by the talented Kelly Jones released new work every two years, but this time, they took their time and space, and judging by the results, they did well. If "Keep Calm..." with its unbridled grandiosity and a then-new producer (Jim Abbiss, Kasabian among others), which certainly didn't improve things, managed to churn out only a couple of episodes worthy of the band’s fame ("Innocent," "She's Alright" and little else), this time the guys hit the mark.

First of all, the novelties: Jim Lowe returns as interim producer, once again alongside Jones. A new very talented drummer, Jamie Morrison, ex-Noisettes. Interesting collaborations (Kelly's girlfriend, who lends her voice for a successful duet in the dark ballad "Take Me," which sounds as if Rod Stewart, not Jamie Hince, was singing in The Kills) and important ones (none other than Maestro David Arnold - for those who do not know, responsible for the soundtracks underpinning the cinematic adventures of James Bond/007 - taking care of the strings). In short, a lot of ingredients in the mix, but cooked really well.

Starting from forty pieces to choose from, they whittled it down to ten songs, which then composed the short and compact (thank goodness) tracklist of the work. Don't be fooled by the slightly stiff start with "We Share The Same Sun" (which recalls less whiny and more energetic Snow Patrol, see the final part of "Chasing Cars"). From the next track (the title track), it’s clear that this time the mix is right: Arnold’s arrangements make a mark, the melody is one of the best in the Welsh trio’s career, Jones delivers yet another breathtaking vocal performance, and the result is yet another instant classic in the band’s discography. Chapeau. The two singles released so far work great: "In A Moment" plays with Depeche Mode-like fascinations in the verse, only to let a typically "stereophonic" melody unfold in the chorus, with a nice interplay of voices intertwined at the end. "Indian Summer," the leading single, with its Gaslight Anthem-like pace, does its dirty work and leaves a mark as it should.

The rock 'n roll moment is not missing with the Foo Fighters appeal of "Catacomb," strategically placed halfway through the album, followed by the vaguely prog attitude of "Roll The Dice," which with its play on more than one arrangement is entertaining and doesn’t weigh down the pronounced melodic schizophrenia. "Violins And Tambourines" (the video of the piece marks the directorial debut of the Welsh frontman, who tries his hand behind the camera also for the clip of "In A Moment"), the first promotional taste released at the end of last year, seems to take the path of intimacy only to explode into an intense crescendo dominated by Jones’ vocal prowess. But the real gem of the album is the monumental "Been Caught Cheating," old-fashioned blues on the border between ironic and ambitious, the piece that fans of the diminutive Welsh singer have always been waiting for: here’s how the 2007 solo album should have sounded. Unfortunately, it didn’t. The album is closed by a slow and suggestive "No-One's Perfect," nothing transcendental, but a pertinent and intense curtain for a very, very pleasant album.

In short, the Stereophonics seem to have (on their eighth album of their career, no small feat) found the right lane again. If next time we have to wait, as happened this time, a few more months, provided the result is this, we are more than happy to do so.

Welcome back.

Best Track: Been Caught Cheating