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Dec 01, 2010 Issue #33 - Fall 2010 - Interpol By Laura Studarus

Manchester, England's Working for a Nuclear Free City are no strangers to ambition. Their catalogue is an odd blend of electronics-drenched, spiky dance rock, imbedded with sensitive ambient atmospherics—which works more often than it doesn't. It's a delicate balancing act they've once again carried out over the course of Jojo Burger Tempest. Well... nearly, as there is one notable elephant in the room. The band's sky-high hopes sink under the weight of the B-side title track. Bogged down with what feels like every album outtake, the half-hour ambient instrumental that takes up the entire second disc goes nowhere—and takes its time doing it. In short, a master class in the dangers of confusing ambition and indulgence.

Thankfully the bulk of the album fairs much better, its 17 songs clocking in at a surprisingly lean 54 minutes. Equal parts Boards of Canada and Friendly Fires—with a smattering of Beach Boys harmonies—it's a large, sprawling, complex pile to work through, as the band offers up a tonal accompaniment for nearly every mood. However, like many people, Working for a Nuclear Free City seem to prefer their moods on the up and up as slower tracks eek by on beauty rather than staying power. "Float Bridges" in particular plays like a half-remembered dream-snippet (where you wake up before the juicy bit).

On the upside, the scale tips towards ethereal on "Brown Owl," whose opening takes a page out of the Sigur Rós playbook, before twisting back towards party time. "Do a Stunt," plays like distilled sweat and endorphins, while "Silent Times" wins with lackadaisical vocals and crashing guitars. And then there's "Little Lenin"—by far the best song Franz Ferdinand never wrote. All the elements come together in epic album highlight "B.A.R.R.Y.," a slow-building, four-minute long crescendo that will have Explosions in the Sky fans salivating. In all, it's a magnificent, ear-catching jumble. (www.myspace.com/wfanfc)

Author rating: 7/10