The evolution of inquistive Manchurians Dutch Uncles has been one of self-discovery, wanderlust, experimental play, sandwich-naming and an inventive creation of math-pop and prog-pop fusion that has the potential to expose into the masses. They gave hope to music fans of Northern England that grew restless with the neandethral masculine odor of "Madchester" bands and could break the barrier between commercial accessibility and musicology appreciation.

 

Their fourth album O Shudder shows that their maturation has reached to the point in which it's safe to say they have perfected the balance between fun and sophistication. Their fun personality has always been there. Who could forget lead singer Duncan Wallis dressing up as a bride in the video for Face In?  It featured on their self-titled debut album which  contained the start of their now infamous time signatures and hinted at the intellectual potential of prog rock experimentation, jangly guitars, unpredictable dichotomy, exciting polyrhythm and delightful pianos. Yet the German-located band felt a little lost, lacked an unidentifiable ingredient and was overshadowed by dirty post punk distortion and violent drum hits. The song structure also had a lead towards the pop punk of My Chemical Romance and the mischievous attitude of Blink 182.

 

The consistent two year gap between albums has lead to a smooth transitional flow, which has developed the intricate details of their sound and slowly filtered out the explosive rock elements but kept the genre's eccentricities.  Follow-up Candenza was more challenging, shaped their prog-pop stylings with improvisation willingness and introduced well-planned chanting harmonys and a charming love for music boxes. Whilst their third album Out of Touch In The Wild introduced an exotic nature, The Verve-esque traditional strings and a a closer association with Everything Everything and Egyptian Hiphop through their unconventional use of synthesizers and nostalgic geekiness, which would progress further into the next album.

 

Now we come to Daniel Spedding's last album O Shudder (the guitarist left a day after it's release to pursue other goals) and by definition it is an indie pop album with 80s synth pop and new wave elements. It feels cleaner and focuses on the juxtaposition of three types of musical keyboard; the piano, the electronic keyboard and the synthesizer, whilst completely diluting their hysterical antecedent rock to good effect. It extends the style of Flexxin from the 3rd album.

 

With eyes closed, it's easy to envision a tropical party on a beach whilst all the clientele are dressed in smart suits surrounding a oddly-placed shiny black piano. A great example is the incredibly diverse Given Thing, which starts off with lonesome piano reminscent of what it would be like if Ben Folds provided the soundtrack to The Sims computer game and is complimented by rising strings. Yet it contrasts with the summery marimbas that provoke a Hammer meets Reich composition to a Miami detective series. The same exotic feeling is also represented Upsilon, albeit with a Hot Chip rhythm and beat progression and additional new wave harmonies and can be felt on the Alt J-esque Babymaking.

 

The experimental nature which levelled up their fan base and their increasingly love for brass born from the 3rd album (maybe the next album will be completely orchestral) is evident in the whismically industrial Drips. Different pitches of brass speak to each other in an asbtract manner that recalls the factories of Bjork's Volta yet the Two-Door-Cinema-Club jittery and jive-inducing rhythm guitars remind us that it is infact an indie song. The job dissapointment of groovy new wave Decided Knowledge and the sexual desperation of In and Out remind us that Dutch Uncles also want to express themselves through their lyrics.

 

One of the most noticable things about Dutch Uncles is the falsetto of singer Duncan Wallis. At times it has divided audiences with it's sometimes lack of expressiveness and it's confusingly androynous vocals. However this may not be a hindrance this time. Covering Grace Jones's Slave To The Rhythm may have influenced the drama in his voice as shown in The Drip and Don't Sit Back. Whilst the new growing popularity of andronynous voices from both camps: Shamir, Brittany Howard (Alabama Shakes), Nick van Hofwegen (Young & Sick), Timothy Bruzon (Wave Machines)   and Jonathan Higgins (Everything Everything) will be beneficial to their cause.

 

Even though they now sound nothing like Oasis or Happy Mondays, a Manchurian-esque love of football that dictated their decision to premier their album at a non league match and a collaboration with Manchester residents Stealing Sheep on Be Right Back shows that they are recognize their roots. They are just a different breed of male band that still inhabit the Gallaghers' free spirit of hedonism.

 

 

 

 

feels ir tight

including Perfume Genius and  Shamir and the falsetto of the aforementioned Everything Everything and Anthony Hagerty have been to their distinctive advantage.

 

A love for football  

 

 

 

 

halted their populaittu

 

 

The former introducing fellow Manchurians Stealing Sheep into their vortex of layers. hearrt f

 

Even though in the past Duncan Wallis's androynous vocals have halted commerical process, it may not prove to be a hindrance this time. 

 

 

 

express emotion 

 

 

 

cheekiness.

 

 

 

The job-searching Decided Knowledge and In and Out 

 

 

 

 

 

 

 

 

 

compliemted

 

Duncan Wallis’ vocal might not be to all tastes. A smooth, high-ish instrument, it can lack expressiveness beyond the occasional soulful edge (Flexxin) or angelic choirboy impression (Zug Zwang). It is, perhaps, this element that prevents the band ever quite engaging the emotions in the same way that they so deftly engage the mind and dancefloor-bound feet. mancheste rlads at heaty

 

very kind of 80s comedy film popcorny hanz zimmer, miami vice-eesque and a guitar, tropical sound, nirvana 

 

on the contrast between two keyboard 

falsetto everythig everything

elements of 2rd album bought in, dbuted at , still laddish but a new breed of male band.

not quite the voice of grac ejones who covered rubbe off on him, aforementioned, the adonynous nature recently left th band. javelin, mr kitty

sprinkles of prog rock 

 

 

 it was clouded by a tendency to be loud and rash. However the potential was there and was just overshadowed my inexperience.

 

 

brash. oice held them back, indie pop, time siagnture, pop conetxt

 

 

 

 

 

 

 

 

 

rock sound evidence tthere