I’ve said it before and I’ll say it again, The Last Charge of The Light Horse is one of the best names for a band I have come across in a long while. Add to that the album title sounds like a character in a Jeff VanderMeer novel and its cover is a lovely and thought provoking, post-impressionist looking image and they have me hook, line and sinker. It almost doesn’t matter to me what the music sounds like now, I’m already sold on everything about them.
The fact that the album kicks off with a song which sounds just how I image Crowded House would sound like if they were just starting out today, almost overloads the system. Okay, compose yourself! Right, I’m good. Let’s start again.
The Sand Reckoner is simply a fantastic album! It is woven out of swathes of cinematic pop tethered to indie structures and driven by just the hint of rock weight, authenticity and integrity. Play Choose Now and try not to loose yourself in the soul searching lyrics and its gently melancholic and mellifluous sonics. Give Midnight Parking Lot a spin and try to escape its wandering, jazz-infused clutches. Drop the needle on The Bill Comes Due and avoid being charmed by its wonky take on country music meets India raga meets pop meets, perhaps, perfection. You can’t, you can’t, you can’t!
Remember when pop was experimental? Remember when it had authentic and integrity? Remember when if was beautiful, when it spoke to you, moved you. Remember when it had the ability to shout from the rooftrees whilst simultaneously whispering in your ear? Remember when it wasn’t all dance routines and designer clothes? The Last Charge of The Light Horse do and The Sand Reckoner is the proof.
