It’s been six years since Nic McKenzie and Nick Weaver released their debut album Outlands. On the back of a run of singles they’d built a strong sense of anticipation about that first record and it certainly lived up to expectations. Fast forward to 2018 and how does a band evolve and change over that time? The DSA model is to essentially stick to the template with some refinement and an easing off of the accelerator.
As you’d expect with such a long gestation, they’ve no doubt rewritten and reworked tracks and that has given these ten songs a sense of calm control. The more frantic edges of earlier songs have been rounded off. This is the band sounding less indie psych rock and with more of an ultramodern sheen that embraces electronic and disco sounds as much as it distils the pop and psychedelic qualities of their past work. Mercury Rev, Spoon, Beck, The Horrors are names that come to mind, acts that all relish melodic hooks as equally as they paint in cosmic colours.
McKenzie’s voice is shorn of some of its more nasally proclivities and is now in perfect marriage with the music. Musically, the Manchester 90s vibe is still there in tracks like Joanna with its dance-ready rhythm section. The closer Ready is a highlight of studio-polished melancholy while Learning To Fly is an absolute ear-worm of a track that uses hooks and repetition to bury itself deep. The other highlight is the single Close To Me with its loping trip hop groove and psych-soul feel that blossoms into one of the duo’s finest choruses.
Black lights are employed for artistic lighting effects as well as diagnostic and therapeutic uses and in that sense it’s a fitting title for a record that looks to combine art-pop and post-relationship dissection. There are moments when form supersedes the strength of the songwriting but overall Blacklight justifies the long wait for this second album.