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MorcheebaThe Antidote Liberation/FMR Morcheeba's first album with new vocalist and ex-Noonday Underground singer Daisy Martey demonstrates two clear facts. Firstly, they've made the right choice with their brassy new vocalist. While she doesn't have Skye Edward's silky smooth style, Martey's feistier voice allows the band to venture into new, braver territory. Secondly, Morcheeba is and will continue to be whatever Paul and Ross Godfrey - brothers and combined driving force - want it to be. This second factor is what makes Morcheeba one of the world's most fascinating groups. Every record is a reinvention - however slight - of the band as we know it, without ever losing that intangible quality that makes it recognisably Morcheeba. In effect, 'The Antidote' is - like each preceding record - the perfect Morcheeba album. People Carrier rocks out like they never have before thanks to Martey's verve, as does Living Hell, which works despite its unlikely flute and slide guitar makeup. The back-to-back Daylight Robbery and Antidote will have the Polyphonic Spree checking to see their horn section hasn't deserted, and once again finds flute playing a central role. Martey is also perfectly capable of restraint, so this is a beautifully balanced record. The album opens with a cluster of songs that are as 'typical' as Morcheeba ever get. The production is precisely right: the brothers Godfrey know when to let the music breath, and when to put Martey right at the front of the mix. New to the band are the electronic sound effects that pepper the Wonders Never Cease and Ten Men, which are almost aural shock effects for the first few plays. 'The Antidote' is another superb Morcheeba album: inventive, playful and - importantly - a genuine grower. They've comprehensively bounded over that crevasse labelled 'new singer' and used it to move in directions they didn't have the means to previously. There are not many groups capable of a return like this.  |
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