Anonymous Iconoclasts - Send in the Suits - Album Review

In April 2018, I received a 14-track album by the south Wales collective, Anonymous Iconoclasts (Think Kiss without the glamour or platforms!) entitled ‘A.I’. It was so good that I dusted down my under-used laptop and wrote a detailed review.  This week marks my return to live radio after a bit of a break and what was waiting for me but a brand-new album from those shadow-lurking musos! If I thought the 14 track ‘A.I.’ was ambitious, the new offering, ‘Send in the Suits’ is a hefty 20 songs long!  ‘A.I.’ offered a glimpse of the horrors that technology has to offer and ‘SITS’ with an image of the House of Commons emblazoned on the front cover, keeps up the story. Sine their last release we’ve had  lockdown, of course and our ‘Anonymous’ friends have had a lot of time on their hands…

Musically the Icons are almost impossible to pigeonhole, as each song is a different style, or genre from its predecessor. ‘A Real Situation’ kicks us off, in full Talking Heads mode with the first lyrical use of the word ‘egress’, to my knowledge. The deadpan delivery of most tracks leads to a comparison with David Byrne and co, especially the choppy guitar work. ‘Let’s take a Trip’ has more of a country feel and includes a few jabs at some guy called ‘Elon’ and his space tourism adventures (who could they possibly mean?).

‘Just Because’ is a tremendous ‘list’ song, in which not so anonymous iconoclasts such as Marilyn and Jimmy Dean get name checked, amongst other 20th century cornerstones. ‘Don’t change my Dear’ continues, in the Americana style. ‘Keep on Moving’ has a beautiful, simplistic guitar run and more deadpan delivery, accompanied by shuffling drums and percussion. I first heard the next track, ‘Our new Norm’ back in the heady days of lockdown and it has several wryly witty observations on those curious months that we spent on Zoom, clapping hands, two meters apart. This version, produced by Danny Chang, has added a flute, to the demo that I first heard and is a genuine highlight, of the first half of this behemoth.

The upbeat ‘Green Tree House’ follows next. This had me thinking of early R.E.M. with a few McCartney style yeah’s thrown in and some Bob Dylan harmonica (kitchen sink, et al). ‘Chill in the Air’, ‘You took away My’ and ‘Baby Don’t Cry’ capture this band, in a snapshot, country ballad juxtaposed with quirky, indie pop. ‘Fall like a Fool’ is again typical; jaunty music with dark, sinister lyrics, featuring Beatles-esque stabbing strings.

Country twang returns with ‘Let it all Out’ and then the tempo livens up with ‘Learn to Live’ a ‘weird way of listening’, indeed!.  References to fingers in ears and the sometimes vocally strained delivery make the song intriguing, as well as weird! ‘Swings and Roundabouts’ has a latter day, Johnny Cash feel to it whilst ‘Come by and See me’ channels the ghost of Leonard Cohen via Roger Waters.

‘What d’you think about that?’ highlights the drummer’s impressive abilities whilst ‘Safe at Home’ takes us back to our shared COVID memories with some Donovan style finger picking for good measure. The (instrumental) title track, ‘Send in the Suits’ is a jazz shuffle, complete with scat vocalising, bizarrely features the phrase ‘more tea, vicar?’ during the intro! The whole shebang finishes with ‘This way Up’, a simple whistled melody, over a lo-fi, almost Bontempi organ-sounding keyboard riff.

Phew and that’s your lot, a complete smorgasbord of styles which like Zappa works most of the time with very few missteps.  SITS is available via Spotify but why not support the band? £7 for such a strong, 20 track album, is some bargain!

Please don’t leave it another five years, lads, or the next one will be a 100 track, box set! This is really great stuff but now it’s time for me to find the egress…   

Chris Philips BGFM Radio

Gracie Abrams - Good Riddance - Album Review

Dreamy vocals, acoustic guitar, and devastatingly honest storytelling make this the perfect heartbreak album, but maybe not in the way that you would expect. 

Gracie Abrams’ debut album Good Riddance tells the story of a breakup from the perspective of the person who left. The opening track ‘Best’ sets the tone for an album that will have you reaching for a box of tissues and your favorite old blanket. The song is packed with intricate details that make you feel as if you are experiencing everything with her, especially in the long, cathartic bridge. The line ‘I was never the best to you’ is the first of many occasions throughout this album that we hear the 23-year-old singer take responsibility for the destruction of the relationship.

‘I know it won't work’ continues the themes of lyrical vulnerability and honesty. The singer describes wanting her partner to move on as she knows that she is not good for them while struggling to move on herself. This is best portrayed in the breathtaking line: ‘I’m your ghost right now, your house is haunted’. After just two tracks, it is easy to sense a theme of a woman in her twenties trying to figure out what to let go of and what to hold onto and finding herself in the process.

‘I’m a rollercoaster, you’re a dead end street’ is the opening line to the third track ‘Full Machine’, and sums the song up perfectly. The feelings of sadness and distress are evident in her soft voice and this only intensifies a couple of tracks later as she sings the song's title ‘I should hate you’ with a shaky voice. 

Almost every song on this album is telling the same story: A good relationship that fell apart because she did not feel the same anymore. It would have been interesting to hear more variation in the storytelling as she is phenomenal at it and songs like ‘Amelie’ and ‘The Blue’ that stray from the main topic really shine and stand out, but I can appreciate that this album feels like a snapshot of a very specific time in her life and she keeps your attention throughout with her devastating honesty.

Aaron Dessner has displayed his incredible skill for producing music of this genre in the past, including working with Taylor Swift to produce her sister albums Folklore and Evermore, and I could not imagine a better fit for the album. Each song feels like a haunting lullaby that makes you want to curl up and listen to it on a rainy day.

Things start to look up towards the end of the album, starting with the song ‘Difficult’ which displays a more upbeat production as she sings about growing up and moving on but still fighting the temptation to go back to what she knows she should let go of. The following track ‘This is what the drugs are for’ mixes a darker sound with Gracie's raw vocals and an overall theme of getting used to something but not getting over it. The production begins to feel lighter towards the end of the song which could represent her finally beginning to heal.

In an album filled with sadness and self-reflection, the songwriter gives listeners one shining moment of joy with ‘The Blue’, a song made up of the sweetest soft vocals, bright production, and hope. This track is about finally being ready to fall in love again and ignoring feelings of doubt, like when she questions ‘what if you’re my weakness?’. 

The final track ‘Right now’ serves a sense of closure that feels needed at the end of this album. The sound of the piano and the cozy production make this song feel almost nostalgic, which fits flawlessly with the song's themes of feeling homesick and the loss that comes with getting older and moving away from your family. After listening to Gracie’s frustration with finding herself throughout this album, ending with the line ‘I feel like myself right now’ feels like the perfect comfort.