Believe it or not, it is now twelve and a half years since Israeli musician Aviv Geffen and Porcupine Tree‘s Steven Wilson formed Blackfield and released their self-titled first album. The aforementioned debut blended the pair’s love of classic rock beautifully with the more synth-led post-prog of bands like Talk Talk or even the new wave dance-pop of The Beloved. Since then, the band has released a further four numerically titled albums (save, for some reason, their third one – 2011’s Welcome To My DNA), their present and fifth album, appropriately enough, being titled V.
Where their introductory release was compelling and sometimes intriguing, however, it would appear that this time around Geffen has been spending way too long in the company of the likes of Biffy Clyro and U2, and perhaps being inadvertently influenced by the schmaltz-ridden Israeli version of The Voice, for which he is presently a judge. This is something of a problem, in that it renders many of the compositions about as exciting as reading the autobiography of someone who went out in week two (well, ok any week) of the 2016 series of Big Brother, in an accounts office, while The Script play a stripped down acoustic set in the background. Amongst the chief culprits we have the excruciating ‘We’ll Never Be Apart‘, which starts pleasantly enough, like an early REM number, but soon diminishes into something so sickly and monotonous that it is hard to find anything positive to say about it. “We’ll never be apart” sings Geffen, again and again, over and over, ad infinitum. And again. And again. And Oh For The Love Of God Make It Stop.
V is not without redemption, but the clear intent to move to a more stadium-oriented sound does not suit them. Thankfully when they veer away from such heady ambitions, the listener is handsomely rewarded. The trip-hop infused ‘Lonely Soul‘ is one such instance, which sounds a little like Nightmares On Wax and a rare standout. And ‘Lately‘ has a touch more oomph about it, still relatively gentle but elevated to greater heights by its searing guitar and exquisite female backing vocal.
The album features three tracks produced by Alan Parsons and another one, ‘October‘, by Trevor Horn. Parsons’ involvement would explain its more proggy leanings, whereas Horn’s lush orchestral arrangement is akin to something that may have made it onto Jeff Wayne‘s War Of The Worlds, a la Justin Hayward‘s ‘Forever Autumn‘.
Both men apparently consider this Blackfield’s finest work to date. I wish I agreed, but while it has its moments, it really bloody isn’t.
Blackfield V is released on 10th February through Kscope.
