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First and foremost, the second Granite Shore album is a pop record, albeit an angry one. When writing began in spring 2016, it dealt largely with anxiety. “Suddenly,” says Nick Halliwell, “we were overtaken by what felt like a national self-harming anxiety episode, which then went global.” Halliwell admits expecting the subject would be all over the arts by the time the record came out, yet little has materialised a year on. “I’m not sure this is my responsibility/But no-one’s stepping forward as far as I can see” goes one lyric. “A pop record is the obvious format for in-depth socio-political analysis so I allowed my lifelong love of ABBA free rein,” he remarks mischievously, “pop’s far more interesting than rock nowadays.”

Enlisting cult singer John Howard’s voice of a (recording) angel was another step outside the Indie Ghetto. The album employs a number of metaphors. “I considered picking up where the [2015 debut] Once More From The Top narrative left off, but resisted the temptation”, Halliwell adds, “I wanted to focus on hooks, trimming off any fat...” The best pop is all about economy, hence unambiguous songs like Where does the Sadness come from?, Outside, looking in and Buyer beware sit alongside more expansive material like The Performance of a Lifetime, which conflates Brexit with the deaths of two Princes. 

TRACK LISTING

A1 So It Begins
A2 Outside, Looking In
A3 Buyer Beware
A4 There’s Always One
A5 Someone Else

B1 Where Does The Sadness Come From?
B2 I Suppose So
B3 The Performance Of A Lifetime
B4 Commodities