Things are pretty much as you would expect them to be on the Coral's fourth album as all the usual pieces are in place: vocalist James Skelly still channels the voice of Ian McCullough, the guitars of Skelly and Bill Ryder-Jones still sparkle and shine, and the band is still inventive and interesting. What is different about The Invisible Invasion is the stripped-down and focused sound courtesy of producers Geoff Barrow and Adrian Utley (of Portishead). Thankfully no elements of trip-hop show up; instead, they give the songs some rhythmic focus by getting a tight and live drum sound and scale back the often overly ornate arrangements of the first two albums to mostly just guitars, bass, and drums. If the batch of songs the band came up with were at all dull, this approach might have been deadly (as it proved on the somewhat forgettable Nightfreak and the Sons of Becker). Luckily the songs here are among the best they have written and are quite varied as well, ranging from the bouncily acoustic "So Long Ago" to the moody (with a great chorus) "Cripples Crown," the insistent "The Operator" to the musically lovely, lyrically melancholy "In the Morning." Where the group once seemed intent on cramming every song with everything they could fit, the new focus allows the songs to breathe more, at times even reaching levels of emotional depth that didn't seem in the cards before. "Far from the Crowd" with its quietly galloping rhythms and beautiful vocal harmonies is one example; the achingly sad "Late Afternoon" (which is one of the few songs to prominently feature keyboards) is another. More depth, better production, stellar songs performed with high levels of vigor and commitment -- it adds up to the group's best album to date. Despite a work rate that might burn out a lesser group, the Coral show no signs of going away anytime soon and if they can keep making records this good, lovers of tuneful and intelligent pop music should be very glad
Vaguely psychedelic and always atmospheric indie rock outfit the Coral hit the bulls eye on their Mercury nominated, full-length 2002 eponymous debut (they even got press across the pond), and through four more albums, all of which were at the very least decent, they earned themselves a respectable place in post-Brit-pop infamy. The Coral, like the Kaiser Chiefs, have always been more of a singles band, which makes the appropriately titled Singles Collection such a treat. The jangly '60s-inspired pop nuggets that graced the group's debut ("Dreaming of You," "Goodbye") still pack the most punch, but by cherry-picking tracks from later releases like Magic and Medicine ("Don't Think You're the First"), Invisible Invasion ("In the Morning"), and Roots & Echoes ("Put the Sun Back"), as well as including a whole second disc of singles and live tracks, they've managed to craft their most enjoyable release yet.
An album for long, meandering summer afternoons, Magic and Medicine is a quirky and imaginative bundle of joy.
True to past form, The Coral are able to employ stylistic kleptomania without resorting to derivation or cowardly irony. "Don't Think You're The First", smacks of tasty spaghetti western with a small dollop of surfy sauce. Deep echo guitar is supplemented by melancholy violin in "Milkwood Blues". A 'jam-session' feel pervades throughout as the many influences just keep on coming.
With endearing hyperactive childishness, most tracks refuse to stand still. The greatest focus is achieved in the story-telling of "Liezah" and "Bill McCai". The plaintive longing of the former is backed by finger-picked Simon and Garfunkel guitars with added bounce. Key changes herald rolling black cloud mood shifts. "Bill McCai" is perhaps the most musically upbeat treatment of suicide you are ever likely to hear. It is incredible that a band of 18-22 year olds can produce such an accomplished lament to decaying dreams, lost youth and the sheer terror of advancing years.
Any album that incorporates dreamy seaside Wurlitzers, brass, funk bass, strings and harmonica plus skiffle, folk, Super Furry Animal school psychedelia (despite the band's denials), beat, blues and more (often in the same song) should really be considered a novelty record. However, The Coral are more than just a wacky bunch of cheap tricksters. When their approach works, it works well.