Like an advert for Bradford and Bingley or the Pillsbury Doughboy, Paul Smith and his bowler titfer silhouette are as ubiquitous and synonymous with Great Britain and the indie landscape as the name itself; there are many a Smith and Smiths, (there once was a very fine band indeed) and of course his exact namesake that makes the expensive shirts.
Being a dapper fellow himself, it wouldn’t surprise that the buried deep narcissist in him would wear a shirt bearing his name that hadn’t been stitched in by his mother when he was at school.
He has been one of the more ostentatious frontmen that emanated from the mid 2000’s, mid air scissor kicks, he is a whirlwind of energy, prowling the stage, snarling and prancing as the singer in Maximo Park, erstwhile exponents of the finer cut of indie from that period that bore Razorlight, Kaiser Chiefs, Bloc Party and Arctic Monkeys.
Here be Diagrams, solo album number 4, if, as he states himself, you count the coming together of some of the other of North East’s finest, Field Music, in his collaboration with the Brewis brothers on 2014’s Frozen by Sight.
Described by the man himself as being part bedroom recording, this has a lo-fi quality that distances itself from his day job. When you are the focal point for a band and you release material under just your own moniker, comparisons are inevitable, the voice is unmistakable, the north eastern origin is so recognisable and unusual that for the past 13 years he is what instantly strikes Maximo Park apart from any of their peers.
His reputation for lyrics and poetry goes before him, however on this record he is less introverted with the subject matter preferring to comment on society, social media, politics and metaphorical examples of life. Opening track ‘The Public Eye‘ questions the obsession with the desire for attention, validation and adoration; from a TV celebrity to getting a message liked on Twitter, with ‘Space Oddity’ clarinet to boot.
‘Silver Rabbit‘ is a close friend that maybe had more interest in heavy rock when Our Velocity was listening to Gang of Four.
The structure and lyrics, angular post punk and pop hooks hark back to the first few Maximo Park records, but the guitar has a completely different tone and style. There’s an urgent twitching new wave element that often gives way to grunge, chorus tinged distorted thrashing; treble and a distinct lack of rumbling bass.
‘Lake Burley Griffin‘ changes tack, reminiscent of early-R.E.M., understated and fragile vocals but still the image of a flannelette shirt, long hair, ripped baggy jeans and a Fender Jaguar persists.
‘Syrian Plains‘ seals the deal, dripping with early 90’s American MTV, Blind Melon and The Lemonheads abound.
Someone with the lyrical dexterity and intelligence that has kept him relevant as the years roll by and the anniversary re-issues and tours pass, he still has much to say and ways to say it. He needs to be cherished and celebrated.
Diagrams is out now on Billingham Records.
