Scots band produce a dark and brooding but varied album
'Patterns of Behaviour' is a strange but wonderful and varied album, although that's not to say it's always easy listening. In fact, it's often hard going and when the press release says it's 'paranoid, dark, and edgy' they're just about spot on. Even then that's not entirely accurate - there are some lovely, upbeat songs too, and it's a good thing too as it takes the edge off what might otherwise be an oppressive album.
So, what does it sound like? Well, first track 'Lost in a Field' is one of the darkest moments of the whole album managing to combine 'Laid'-era James with the darker elements of Miles Davis, and is completely instrumental. It's a strange choice of opening track, and perhaps a more accessible song would've been a better choice. Listening to it too much can be an unnerving experience, and despite the arrangement being well done it's almost too repressive.
It's a relief, then, when the next few tracks turn out to be a bit lighter. They're still tense, with emotion bubbling just under the surface but are easier on the ear. 'Syntax Errors' and 'Star Sign Girl' is reminiscent of New Order - the new wave electronica is definitely there - but acid house is clear and present with a scintillating beat. The topics of failure and loneliness just add to the downbeat feeling. The same goes for the title track, a collaboration with Tara Mascara (from Language of Flowers) that starts off quite happy on the first listen but gets more and more ominous with every listen. The duet between their singer and Tara Mascara works well, and the contrast between her fragile voice and his more rough and ready ones goes down nicely.
'Gone' is the first of the many time on 'Patterns of Behaviour' that baffle and surprise. There's no singing, just recorded voices set to melancholy keyboard including an American girl talking about a black guy wanting to fit in, and committing suicide when he couldn't. It's sad, and the understated emotion is better than if it were more in-your-face. But just as you've got used to that, it switches again. This time, 'Come, See the View' is off-kilter and just when it starts sounding like Country and Western experimental, it kicks into a happy, indie pop ditty. And, like all of the other Viva Stereo songs it's multi-layered and it'd take a lot to be bored by this tune.
The band return to the sound of 'Laid'-era James for 'Ridden', a simple acoustic guitar, keyboard, and vocals arrangement that somehow manages to be one of the best tracks on the album. This time, the vocals belong to the singer and if you're feeling teary, it will make you cry. I'm left wanting more of the same, so when bouncy electronica indie shows up on 'She Can do no Harm', I'm rather disappointed. Guest vocals in French from Diana de Cabarrus of Candythief do nothing to make matters better, and the cheeriness is pretty irritating.
From then on, the dark and edgy mood takes over. Particularly on 'My Own Enemy', which sounds like a video game at the start, the subject matter of breaking down and 'fucking up' and New Order does acid house tune make it one of the best tracks on the record. It's sexy and seductive - this is music to pull to.
When I first put the CD on, I wasn't sure I'd like it but repeated listening showed the dark and seductive pull of this album. Apart from the one duff song, 'Patterns of Behaviour' is a must get.