The Dandy Warhols
Distortland

And so, the Dandy Warhols also reach the notable milestone of their tenth studio effort.

Named “Distortland,” the album arrives four years after the previous (and not fully focused) “This Machine,” marking a full and convincing creative restart for the band from Portland, Oregon. Starting with the sound, revitalized and enriched by the unique choice to record the album on an '80s cassette recorder in the basement of frontman Courtney Taylor-Taylor, and entrusting the mix to the skilled hands of the ever-reliable Jim Lowe, a producer who has worked with, among others, Stereophonics and Kasabian.

The first single “All The Girls In London” with its Clash flavour might suggest a return to the britpop era of “13 Tales From Urban Bohemia,” but it's a red herring. Although there are other tracks with prominent guitars, like in the cheeky pop-punk of “Pope Reverend Jim” or the straightforward second single “You Are Killing Me,” the Warhols opt for their usual hyper-eclectic approach, this time (unlike the last two studio efforts) keeping the bar of inspiration high, achieving the difficult task of obtaining cohesiveness, both in sound and in the proposal's length (clocking in at a generous half-hour runtime, without fillers).

In the first two tracks “Search Party” and “Semper Fidelis,” there is a strong play on the balance between synthesizers, guitars, and vocals, all properly distorted but not overdone. “Catcher In The Rye” is bass-driven and features a nice sing-along chorus. But the best moment comes with the superb “STYGGO,” by far the best track the Dandy Warhols have produced in the last ten years: it picks up the quirky vibe of the old (and fantastic) hit “We Used To Be Friends,” stripping everything to the bare essentials and letting the bass and a disarmingly simple yet crystalline refrain (complete with chorus) lead the way. Superb. And with the following “Give,” it smoothly transitions to a quiet brit guitar and voice piece, perfect for breaking the rhythm.

The album concludes with “Doves,” featuring a beautiful vocal dangerously close to soul accompanying a languid guitar part, and the lo-fi soaked punk of the minimal “The Grow Up Song.”

For the Dandy Warhols, this “Distortland” is somewhat what Americans call a “return to form.” You can feel once again the unity of intent, clarity of ideas, and finally a certain underlying cohesion, in miraculous balance with the usual artistic urgency that allows the Portland guys to explore freely. It’s the kind of thing that hasn’t been felt since “Odditorium Or Warlords Of Mars,” truly one of the most underrated albums of the last decade in the alternative scene.

Best track: STYGGO