“NYC’s The Fever return with one of the most unique, impassioned, and imaginative records you will hear this year.” So goes the PR verbiage that accompanied this record. And you know what? It’s spot-on… As for reviews like, “The Fever are shaping up as an American Franz Ferdinand,” forget it. This band is carving out a musical niche of its very own and is far more interesting than FF…

Expect tracks from this album to be featured in the next Tarrentino movie. You’ll hear what I mean when you listen to the amazing guitar, keyboard and drum sounds in intro track Curtains, and then the jiving rock, and frantically paced vibe of Tex-Mex tune Redhead. It’s taken a few listens to fully appreciate just how good (and diverse) this album is but what comes out loud and clear is that Geremy Jasper has left no musical stone unturned in making this raw and exciting record. Waiting For The Centipede takes on a very theatrical style with its lighter vibe; deliberate, slower speed; and a vocal that is almost at spoken-word pace. Then it’s back into Tarrentino territory with the dark and threatening ambience of The Secret with tremendous drumming from Achilles Tzoulafis and desperate, far-flung Jasper vocal. There’s an intensity here that is compelling, and at every turn melody couldn’t be much stronger. Crying Wolf sounds like a dripping tap before diving guitar riffs, and heavily thumped piano notes take over, and Jasper gives yet another storming, expressive vocal. This is track 5 with another 11 tracks to go… and already this sounds like an album that will be included in our top ten albums of the year. Magnus changes direction totally with a pump organ providing the most subtle intro to a brief, beautiful and glacially paced song, with a background of sea waves breaking onto a shoreline.

Little Lamb & The Shiny Silver Bullets is like something out of a Beatles record with its strong pop/rock ambience, superb melody, lovely harmonies and haunting tone. It’s very simple, very beautiful. And the great songs and performances keep coming with songs like Eyes On The Road that should be played on every car journey to pump you up for the working day ahead. Then there’s the moving piano vibe of Circus Girl that is nothing short of deeply moving, and the brilliant closing ballad YR Fool with its echoed vocal, whisper-quiet opening, extended moment of complete silence before Hammond, drums and guitars return and build to the most extraordinary closing crescendo.

As I stated, this record takes a few listens to fully appreciate its contents, and before its enormity hits you. It’s the type of record that throws up new favourite tracks every time you play it, hence my reluctance to name any highlights. Twists and turns? Tell me about it - you just don’t know what’s coming next, although there is a punky backbone to most of what’s here. Buy this record and you’ll see exactly what I mean. Essential, and a fabulous highlight of 2006.

4.5/5