The Divine Comedy have been one of the British music scene's most interesting, if never influential, bands, combining lavish orchestral arrangements with witty and intellectual lyrics. However, since the frontman Neil Hannon's marriage in 1999, he has moved away from the arch wit of 'National Express' and 'Something for the Weekend' in favour of a more heartfelt and sincere sound. The first evidence of this was the Nigel Godrich-produced 'Regeneration', which had some interesting musical and lyrical ideas but was largely spoilt by Hannon adopting Radiohead as an influence (listen to Kid A and Regeneration back to back, it's an education), and, most damagingly of all, eschewing the sweeping arrangements that epitomise the Divine Comedy.
Here, Hannon and his long-term collaborator Joby Talbot have returned to the orchestral, lush sound of Fin de Siecle and Casanova, where song after song sounds like a hybrid of Broadway musical, Scott Walker epic, Michael Nyman-esque soundtrack and, in the case of the splendid title track, even 60s-esque western. Fans of earlier Divine Comedy albums are almost certain not to be disappointed by this; stand-out tracks include the mighty 'Freedom Road', loosely based on Hannon's experiences touring America, the doom-laden epic 'Our Mutual Friend', which is about an especially cruel case of infidelity, and 'Sticks and Stones', which features Amelie's Yann Tiersen on guest accordion.
However, it is the lyrics that raise this several notches above most of the competition. Over and over again, Hannon has proved that he has a gift for the witty allusion, and Oscar Wilde, Steve McQueen, Charles Dickens, Shakespeare and Tennyson all appear in some guise or another. Yet the sole redeeming feature of Regeneration for many was that Hannon had moved away from archness into the more heartfelt and sincere, which is continued here in such obviously autobiographical tales as his account of leaving his family to go on tour in 'Leaving Today', with its heartbreaking couplet 'I could stay if you asked me/ So for God's sake don't ask me', and his reflection on his current situation in 'Charmed Life', to say nothing of such charming vignettes as 'Come Home, Billy Bird', detailing the adventures of a businessman trying to get home, and 'The Happy Goth', with its self-explanatory title.
In fact, out of 11 tracks, the only ones which seem to be less immediate than the others are 'The Wreck of the Beautiful', which lacks an interesting tune, and 'Laika's Theme', which shows the heavy influence of Nigel Godrich (here on mixing duties only). But this is still a welcome return to form for Hannon in all respects, and an extremely exciting purchase come the end of March.