Scottish band Camera Obscura's first album since 2013 is more subdued than their earlier work. Read our review.
Camera Obscura came right at you on a string of albums in the early 2000s with bright melodies that were at once effervescent and gloriously plaintive. Many of the songs fromin 2009 took up residence in your brain and refused to leave. The Scottish group takes a more subdued approach on their latest,is Camera Obscura’s first album sincein 2013, and since the death of keyboardist and singer Carey Lander from an aggressive form of bone cancer in 2015.
The resulting vibe is less insistent. Rather than park these songs on your doorstep, it’s more like Camera Obscura have issued a standing invitation to dig beneath the surface if you want to. There’s plenty to find. Warm pedal steel guitar slides around underneath a marching beat and grainy electric guitar on lead single “Big Love,” while keyboards and bass lock into a vintage-style soul groove topped with fat guitar chords on “Denon” .
Campbell sounds as wistful and moonstruck as ever. Her voice wavers between fragile confidence and haughty longing on opener “Liberty Print,” which scrolls by like an indie-pop Jane Austen gala. Campbell offers a languid sense of determination on “We’re Going to Make It in a Man’s World,” where atmospheric synthesizers drift past the wordless vocals that carry the song. Elsewhere, on “Sugar Almond,” she simply sounds.
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