It’s a bit of an Oxfordbands.com tradition that any EP by local post-punks The Gullivers is reviewed by my colleague David Murphy, but it’s one of the vanishingly few perks of co-editing this site that I can nab some of the tastier morsels while leaving my fellow writers with the table-leavings. For example, no way was I going to listen to the noisome Ibiza stylings of Joz and DJ Marcus, still less review it! Sorry, Dave.
That said, I’ve been agnostic about the Gullivers for years now, largely due to their vocalist Mark Byrne, who depending on who you talk to, is either a new Mark E Smith, or a talented guitarist who is singing faux de mieux. There’s a bit of a consensus that their gradual embrace of minimalism is allowing Byrne’s limited vocal gifts to be heard to advantage, if the rave reviews of their previous ‘Ambulance’ EP are anything to by.
However, all bets are now off, as they have added an extremely good female vocalist to the mix. Take a bow, Sophie McGrath. Not only does she provide soulful, elfin vocals almost in the style of Bjork at her tenderest (and sometimes even fellow Icelander Jon Thor Birgisson!), but contributes attractive piano and synth figures to the band’s instrumental world. Her presence seems also to have contributed towards the ever-improving song writing, as this four-song EP contains more than one classic.
The Sigur Ros influence is immediately apparent on the lovely opener ‘A Wall Against the Noise’. Against a lush mixture of hushed, minimal drums, organ chords and synthetic strings, Byrne gives a splendid performance, every inch the burnt out case, a sadder-and-wiser sensualist and near-defeated romantic.
“As we intertwine, you only come up for air
Fasten yourself, a stone wall against the noise”
McGrath’s ghostly soprano cooing, beyond meaning and melody, is unspeakably beautiful.
Vocal duties are shared more equally on the excellent ‘Milieus’, which combines light intertwining piano and guitar figures with a gruff Interpol bassline to pleasing effect. The middle section is notable for the almost bluesy vocal duetting- what is Sophie doing to these erstwhile punk kids? Actually, the combination of the two vocals in harmony is the weakest part of the record, as McGrath is so obviously the ‘better’ singer- I prefer the pair when they keep their distance from each other.
Another high point on what is an excellent record must be ‘Letters’, which features McGrath’s only solo vocal slot. The lyric (a jaunty but forlorn riff on a stalled romance), is clumsily clever, especially the punning “You Pen Me In the Margins”, and the singing, vulnerable but proud, is a delight. Byrne’s intelligently building guitar part deserves almost equal praise. In addition, the tune is by far the most accessible thing the band has ever come up with. Have the Gullivers written a Top Forty hit? If the world is fair, there’s no doubt.
The story of The Gullivers is one of a band who have kept it together for a few years and are now reaping the rewards for camaraderie and confidence in each other’s abilities, as well as an openness to new ideas (and indeed, voices). From starting out as a (let’s face it) pretty mediocre punk act, they have acquired poise, sophistication, discipline and depth. Another Oxford success story, at least artistically. Let’s hope they sell shed-loads.