The Coral
Distance Inbetween

Two years after “The Curse Of Love” (a collection of tracks recorded between 2005 and 2007) and six years since their last studio effort, the beautiful “Butterfly House” (the first without guitarist Bill Ryder-Jones), The Coral return with this new “Distance Inbetween,” the eighth studio effort released by the Merseyside band.

The first album with new guitarist Paul Molloy (formerly of Zutons) and preceded by the very rhythmic psychedelic ride “Chasing The Tail Of A Dream” (chosen as the lead single), “Distance Inbetween” showcases The Coral in great form, eager to give their sound a fresh spin while maintaining the distinctive traits that made them one of the leading post-britpop bands of the 2000s.

The new chapter opens with “Connector,” a good opener that immediately showcases more muscular and assertive guitars than in the past, setting the tone for an album that will continue in that vein, right from the next, beautiful “White Bird.” Speaking of the first single, the pace slows down with the title track, where frontman James Skelly (in great form) leans towards Morrison-like fascinations and perfectly articulates an ethereal and dreamy ballad with his voice. “Million Eyes” and, especially, the second single “Miss Fortune” partially return to their more classically britpop origins, still marked by a much foggier atmosphere compared to previous efforts.

A sonic fog that definitively gathers around the album's two central pillars, the mournful “Beyond The Sun” and the even more sinister “She Runs The River,” interspersed with an “It’s You” that (along with the following “Fear Machine”) seems to nod to the sixties-era Arctic Monkeys of “Suck It And See” (see “Black Treacle” from that album) and a “Holy Revelation” that lets the listener breathe with a truly intoxicating rock 'n roll tout-court.

Solid co-production (along with the band) by Richard Turvey, excellent and perfectly coherent input from the newcomer Molloy, who masterfully chisels and doses his guitar talent throughout all twelve tracks (including the closing instrumental “End Credits”).

An excellent fresh start for The Coral, showcasing maturity, clear ideas, and enviable compositional freshness. Awaiting the next move.

Best track: White Bird