Bite The Bullet – ‘Can Be Anything’ (Mighty Music) Print E-mail
CD Reviews
Written by Mark Ashby   
Friday, 21 April 2017 03:30

Bite The Bullet artworkThis third album from Denmark’s BTB – who, as with many artists, enjoy more success outside their homeland – is a glorious slice of Seventies-style retro acid pop infused with elements of Eighties electronica and house vibes, with a dense undercurrent of whacked out psychedelia which transcends genres in a weirdly hypnotic and transcendental manner which many bands attempt but few, outside perhaps of the likes of Primal Scream, achieve with any degree of success.

 

Lead single ‘Sweet Honey’, for example, blends elements of dream pop and post-Sixties prog in a way which produces an effect similar to its title: sort of sickly, but moreish, pushing its swirling organ theme to the fore to complement Thomas Storgaard Christiansen’s ethereal, wistful vocal. Ironically, the guitar sits very much in the background, which adds to the reflective feel of the song and its infectious harmonisation of elements.

 

‘Dance With Another’ holds echoes of early Roxy Music, while ‘Roadhouse’ grooves like Depeche Mode in their darkest moods before exploding with a pulsating reverb-laden rhythm which wraps itself around the song with the effectiveness of a constricting boa. There’s loads of fuzz on the guitars, which evoke the darkness of the songs, while Christiansen’s have a melancholic undertone which reminds by turns of Morrison, Bellamy, Ferry and Gahan. Much of the album has the feel of haunting introspection: ‘Lipstick Lover’ sounds like it should be a glam-infused bundle of rock ‘n’ roll fury but is instead is a noir-ish slice of dense melodrama which ebbs and flows like a midnight tide. But, this is counter-balanced with a sense of joyous optimism: ‘Any Other Way’ has a pumping bounce which underpins its piano motif and is fuelled by a pounding bass drum line which would calmly match any acid house beat.

 

‘Falling Into You’ is the sort of lazy synth new romantic style pop that dominated the charts in the era of Human League and the afore mentioned Depeche Mode, but manages to retain a solid rock feel in its percussive backdrop. Outside of the single, the most rock ‘n’ roll song on here is ‘When The Fire Stops Burning’, which has a nasty little growl to its guitar line which lies just below the surface like a predatory shark before jumping up and snapping at your ankles like a hungry toddler. It also features a neat blues harp interjection in the latter part.

 

This is an album which took me out of my comfort zone. Which, now and again, is a good thing. I didn’t enjoy all of it, but what I did I did immensely. So there.

 

‘Can Be Anything’ is out now. You can buy your copy HERE.

 

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