Autumn, Again

Release Date
A Sunny Day In Glasgow, with its ever changing lineup like a mini Broken Social Scene, return in emphatic style with an album which showcases a rare ability to fuse modern electronic and retro shoegaze without sounding cheesy. With a total running time of under 35 minutes it would seem to be a world away from Ashes Grammar, but fans will be pleased to know that the song writing and style is of a similar standard. In fact, the songs were by all accounts written during the same constant stream of touring and recording that produced Ashes Grammar. A brief introduction is followed by the clattering drums and echoing synths of “Fall in Love”, this soon falls away though and a much softer melody kicks in with the trademark hushed vocals. If Four Tet’s Kieran Hebden had been in My Bloody Valentine then this might be the sort of music which would have surfaced. After another short interlude the band go all Techno on us for “Sigh, Inhibitionist”, the soft vocals remain but the track goes off in a completely different direction, reminiscent of a particularly excitable Super Furry Animals outro. Up to this point the band successfully employ two distinct styles and manage to make it sound completely fresh, the first time that ASDIG go all out retro is on “Drink Drank Drunk”, which wouldn’t sound out of place on any Indie Top 20 compilation from 1992. This can be forgiven though as it turns out to be one of the high points on an excellent album. The next three tracks skip between ambient (“Violet Mary haunts me OR Loss of forgetfulness on Renfrew Street”), synth-pop (“How does somebody say when they like you?”) and jangly New Wave (“Calling it love isn't love”). Final track, “100/0”, would be fitting in many a David Lynch film (the vocals were recorded outdoors, in the snow, which make for an even more angelic climax), this all adds up to an unbalanced but somehow euphoric mix which keeps you interested to the very end.