The Dears - Missiles

Having a rotating line-up can’t be easy for a band, yet ‘Missiles’, despite being The Dears fourth, is a spectacular work that may even see frontman Murray Lightburn shrug off the Albarn-Morrissey tag that he’s been given many a time. Never pretentious, and always heartfelt this record is full of fantastic gems, all of which are allowed to build and swell before soaring to fantastic musical heights.

This is no standard pop record. Every song here deserves mention; each track sees new sounds and sonic textures bought into play. There’s opener, ‘Disclaimer’ which comes across similarly to ‘Open Season’ era British Sea Power, both epic and atmospheric. Initial feelings that there are acts doing it much better are dispelled however once the songs are given time to sink in. Even so ‘Money Babies’ is similar in sound to ‘Grounds For Divorce’ with its gated drums, clipped guitar riffs a smoking keyboards (not that this is a bad thing - Ed).

‘Missiles’ is lifted yet further by the backing vocals, provided by the bands female members, from being a rather good album to being a great one. ‘Berlin Heart’ encapsulates Lightburn’s supposed objective to bridge The Dears indie sound with a more mainstream accessibility and manages to convey the feeling looking out of a hotel room window at night in a strange city. However, just before the songs three minute mark it picks up pace and offers the listener comfort rather than alienation

In the centre of the album there’s ‘Lights Off’, which manages to pack in folksy guitars and a build up to an ominous electronic rumble, giving off the apocalyptic feel that we got from ‘Absolution’. It doesn’t sit still however, before long we’re hit with lullaby vocals and prog guitar solo which serve to take it somewhere else entirely. If any one song encapsulates the album perfectly then it’s this one

Many lesser bands would be creatively spent by this point in an album, yet despite the treats on offer on the first half of ‘Missiles’ The Dears are able to offer more in the second half of the record. ‘Crisis 1 & 2’ manages to pack in a dual lead vocal performance from Lightburn and keyboardist Yanchak, whilst closing song ‘Saviour’ is over the eleven minute mark and includes trumpets.

‘Missiles’, however, isn’t perfect. Despite The Dears being fully capable of bringing these songs to a conclusion by themselves many of the albums key tracks are ruined by a really rather criminal fade-out. It’s an utter shame to hear in the background the song coming to an end naturally, yet the fader being bought down so that is increasingly inaudible. Aside from this one gripe though, The Dears have produced an astonishing record that has sacrificed choruses for musical beauty and is able to find its way into the hearts and minds of the listener.