Describing Borderville as theatrical is akin to saying that Usain Bolt is fast. However, theatrical it must be, as it’s still the most appropriate word to use. Metamorphosis, the follow-up to their rather splendid debut album Joy Through Work, is a musical retelling of Kafka’s seminal novella. It’s an interesting tapestry of inspired songs. Borderville’s trademark bombastic musical landscape remains, yet it’s more assured now; there’s greater cohesion and a clear indication that the construction has been meticulous. The band’s dramatic fanfares and brooding ballads recall Meatloaf, Queen, Bowie, Mott The Hoople, and dare I say it, prog rock, from the filthy punk rock-ish stomper ‘Open The Door’ to the uncommonly evocative soundscape of the piano ballad ‘Gregor’.
‘Capitalypso’ has a Kinks circa Village Green Preservation Society feel to it, while ‘The Human Way’ is Bowie meets Pink Floyd. All of these influences, although easy to spot, are never simply pastiche. Borderville’s genius is in utilising these influences and creating something that is unique, brave and interesting.
Whilst there’s no denying that Borderville are perhaps the ultimate musical Marmite to those who like the same old safety and dullness of many of today’s indie/rock records, this is an album that rewards the listener immeasurably. There is at times breathtaking and astonishing musicality and depth of vision. Buoyantly foppish, sporadically regal, the album towers like a cosmic totem pole, without being preoccupied with its own wondrousness. This, my friends, is a quite fantastic, wonderful album. It already sits comfortably in my top ten albums of the year – and I don’t mean just my Oxford-based list. Metamorphosis is perhaps a tiny bit pretentious, preposterous, apocalyptic, overblown, and even a little bit ridiculous, but it’s ever so, ever so brilliant!