Album Review: Spearmint - "Holland Park"

 


Well blimey, here's a name from the past. Londoners Spearmint were one of those bands who first broke through in the dying days of Britpop with their almost-hit Sweeping The Nation but unfortunately they arguably timed their entry on to the scene a couple of years too late to become the new Pulp that some were touting them as and would disappear almost as quickly as they'd arrive.

Except they never really disappeared, they just retreated back to the underground where they've remained ever since with Holland Park being no less than the band's ninth album. Intended as a concept album of sorts about being in a band and the aftermath of success, the template is apparently the story of frontman Shirley Lee’s dad’s prog band who were apparently briefly tipped for big things in the ‘70s but, similar to Spearmint themselves, just never quite made the leap up to the big leagues as well as tipping its hat to Bowie. Indeed, opener They Call Us Stupid could almost be the sound of the Duke circa Scary Monsters and Super Creeps colliding with St Etienne in a dimly lit Camden boozer some time around 1993 or so. It's second track Bundunyabba Blue that really kicks this into gear though with its slinky disco sound (complete with strings) and Lee's yearning Badly Drawn Boy style vocals and gentle lyrics urging the new generation to stay true to themselves really combining to make something special.

The wistful Walk Away From Hollywood is another standout, sounding like T-Rex gone Britpop with some genuinely heartfelt lyrics about being in an also-ran band ("I wasted my twenties chasing a dream..." - trust me, I fully empathise guys). Indeed, it's the versatility of this album throughout that's one of the things that makes you sit up and pay attention from the gorgeous string-drenched Since Bowie Died through the funked-up lament Rock 'n' Roll Never Was to the blissful Motown style rhythms of Lazy Susan and the gentle piano-led I Won't Try To Fix You.

It's the epic 12 minute title track that's the real standout here though as Lee tells the story of his dad’s band over a changing musical backing track throughout. It's genuinely breathtaking, weaving all the threads of the album together in fine style, and finally sees them rising to meet that "new Pulp" tag even if it is a couple of decades later.

Consider me genuinely impressed with this album - if Spearmint in the late '90s always seemed like that slightly unlucky bunch with several good ideas who'd just hopped on the bandwagon that crucial 12 months too late then their 2021 incarnation sees them having quietly grown into the shoes that always seemed one size too big for them back in the day to come up with a genuinely great, affecting, varied and tuneful collection of songs. An absolute delight.


NITE SONGS RATING: 🌕🌕🌕🌕🌕🌕🌕🌕🌕🌑 (9/10)

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