The Big Pink

We look at new release Future This

Future This

As everybody scans the skies for 2012’s bright new stars, it’s worth remembering the albatross that being tipped as The Next Big Thing so often proves to be. It’s something Milo Cordell and Robbie Furze are surely reminded of as they await the release of their second album.

Rewind to 2008 and the duo’s first single was pumping from hip speakers throughout the world’s coolest cities, its fuzzy, maximalist sound pitched part way between My Bloody Valentine, Spiritualized and a Boeing 787 at take-off. A Brief History of Love followed, a cavernous, FX-heavy, majesto-pop album with a cliff-top sweep and a single (‘Dominoes’) so addictive its chorus was sampled by bonkers US rapper Nicki Minaj.

Fast forward to 2012 and The Big Pink’s follow-up shows that not very much has changed. Alas, the alt.pop world has turned in the interim, which means that Future This sounds like a title born of very wishful thinking. The duo might have learned from fellow London scenesters The Horrors, whose second LP saw them so neatly wriggle out of their psych-garage-goth straitjacket. And their mates Klaxons could have warned them of the dangers of using the word ‘future’ in an album title.

With producer Paul Epworth again on board, they’ve crafted (more) epic songs not unimpressive in their scale and deep-space heft, but with R&B/hip-hop inflections and ‘experimental’ electronics grafted on. ‘Jump Music’ and a rockist ‘Lose Your Mind’ surely aim at Kasabian’s fanbase, but The Big Pink are at least five years too late to that party. It’s overly snide to say there are ‘77 Ways to Say No’, as the final track claims, but Future This merits no more than a maybe.

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