Stereophonics
Pull The Pin

THE REVIEW

The "welcome back" must be earned. And it must be said that this time Kelly Jones' Stereophonics deserve it, fully and convincingly.

"Pull The Pin", the follow-up to "Language. Sex. Violence. Other?", is a great album that happily showcases the various souls of the Welsh band, enriches the overall sound (which was rather flat in the previous work), and adds some new influences to the group's connective tissue (something that never hurts).

The new album comes after a live album and after Kelly Jones' first solo "divertissement"; the latter is only traceable in "Bright Red Star", which follows the acoustic and intimate path of Kelly's solo album. For the rest, as per an already established tradition, it starts with a track with a dirty and decisive riff like "Soldiers Make Good Targets", which could be a successor to some of the openers of the old albums, like "Vegas Two Times" or "Help Me (She's Out Of Her Mind)". It continues with "Pass The Buck", a super catchy track where Jones inserts the classic chorus ("pa-pa-pa/pa-pa-pa/pa-pa-pappa") typical of the 'phonics, then belts out a chorus that to call radio-friendly is an understatement.

This is followed by the two singles: the new one, "It Means Nothing", a sort of new "Maybe Tomorrow", will probably become yet another hit for the group. It's a languid ballad, where Kelly’s unmistakable voice dominates before exploding, as usual, in a yelled, emotional, and visceral final. It was written right after the attacks on the London Underground, and it shows. The other single, "Bank Holiday Monday", is a crisp and tight rock 'n roll lasting three minutes and change, pleasant and direct.

The calm soul of the album arrives in the middle part of the record; "Daisy Lane" is a simple and pleasant pop gem, endowed with yet another catchy chorus, built on a simple guitar arpeggio and a not at all invasive electronic drum. "Stone", instead, resonates heavily with the evocative rock of Coldplay, and this time the emotional charge is fully unleashed in the beautiful refrain. Not surprisingly, the track was initially scheduled as the second single. Electric guitars make a comeback in the following "My Friends" and "I Could Lose Ya", then take a backseat in the aforementioned "Bright Red Star". In "Lady Luck", Coldplay (this time those of "Politik") reappear as more than just an ectoplasmic presence, just as "Crush" could very well have come out of the "Word Gets Around" sessions. "Drowning" closes on a rockish tone, then fades slowly at the end.

Sure, no one shouts miracle, but the Stereophonics, after ten full years of career, still manage to churn out very valid and enjoyable records. And so it is.