The Divine Comedy
Bang Goes The Knighthood

A curious and intriguing character, this Neil Hannon from Belfast, probably the UK-made artist who emerged from the '90s onwards that I like the most, the one that aligns closest to my tastes and my quirky way of understanding music; a cultured and versatile pop songwriter with a particular taste for vintage sounds sometimes a bit theatrical and baroque, dandy enough with the right amount of self-irony, and a beautiful warm and rounded voice, which certainly never hurts. Known, like many others, by pure and simple chance, I might not have developed a clear and detailed general opinion about him and his artistic journey yet. Some of his works please me greatly, some a little less, and others not at all, but I already have my verdict on what his best album according to my standards is, and it is not the sumptuous "Casanova", nor the still beautiful and intense "Liberation", but rather what to this day is his latest album, "Bang Goes The Knighthood". Why? Perhaps because it flows perfectly, it is much more fluid and cohesive, less "schizophrenic" than any other product branded The Divine Comedy, certainly because vintage sounds, perfect melodies, ironic and witty lyrics, and an attitude never too serious and stiff are all characteristics I have a particular fondness for, not to mention that splendid pop-art cover which perfectly represents the mood and attitude of BGTK.

An explosive and perfectly calibrated mix, translated by the now seasoned Neil Hannon into an album that is a true joy for the ears and also for the mind. Broadly speaking, the approach is very subtle, in terms of songwriting Neil Hannon showcases all his irony and a bit of healthy and sharp cynicism, which gives rise to wonders like "The Complete Banker", a clear demonstration of how one can write a protest song without shouting and without resorting to slogans, using the difficult but lethally sharp and incisive weapon of sarcasm and parody if placed in the right hands, an elegant and bitter masterpiece both musically and in terms of authorship, undoubtedly the encore, the first song to really stand out in this fantastic album, even if in excellent company with many other episodes, each with its own peculiar characteristics, scenarios, and atmospheres, making "Bang Goes The Knighthood" a varied and full of surprises album even if, as I have already said, much more cohesive than many other Neil Hannon albums.

Fun and spontaneous piano-pop sketches like "The Lost Art Of Conversation" and "Can You Stand Upon One Leg", an intense ballad like "When A Man Cries", richly orchestrated in the manner of "A Short Album About Love", the theatrical grandeur of "Down In The Street Below", evocative chamber pop typically "Casanovian" that wouldn't look out of place next to "Frog Princess" and "A Woman Of The World" and the relaxed, seductive, slightly charming swing of "Have You Ever Been In Love". The dark side of good British society emerges in a brief but intense "Bang Goes The Knighthood" with its tormented orchestral crescendo and an amazing vocal performance, but Neil Hannon is an artist of wide horizons, capable of looking beyond national borders, for instance with the tropical life portrayed in "Island Life", light and ethereal, but also lively and colorful as a Gauguin painting, and even improvising a brilliant tarantella in "Neapolitan Girl", a somewhat surprising but particularly apt and incisive choice, also considering that when choosing a moniker like The Divine Comedy, including a reference to Italy is an act of great taste and elegance, qualities that certainly do not lack in Neil Hannon.

An almost perfect album, let's say nearly perfect because a song like "At The Indie Disco" comes off slightly dull and a bit ingratiating, not to mention an alien body in the well-defined and characteristic landscape of the album, even while appreciating its self-irony and subtle mockery of the so-called "hipsters", or more vulgarly posers, and the various new Brit-pop sensations and surroundings that last from one day to the next, just the time for a couple of hits and a few "targeted" articles in the specialized press, people who have very little in common with our Neil. Despite this, my rating can only be the maximum for a great album that seems made with absolute ease, with extraordinary nonchalance, inspiration, and brilliance; there are darker moments, more reflective and of great songwriting depth, title track and "The Complete Banker" above all, but overall "Bang Goes The Knighthood" is a really light, colorful, and brilliant album, and it gives me the impression that Neil Hannon himself had a great time making it, so evident is the sense of ease and coolness that radiates from every single note of the album.