By Jonathan Bradwell
When recommended an artist releasing a ‘World Cup’ anthem, connotations emanate of a mainstream superstar. “GTAA”, architect of song “Football World”, is everything but what is postulated after being bestowed a ‘Pop’ artist. “GTAA” debut album “The Time, The Place” incites peregrinations into the memory in terms of lullabies that anamnesis significant notches in life. Engineering the release with a sound not so mismated from the incomparable ‘Joy Division’, or ‘The Smiths’ more commemoratively sparkling songs: the album is a highly eulogized topic, and rightly so, on radio stations from the UK to the resplendent bays of Australia.
There is an incalculable bearing in the chord patterns used in roughly all of the songs that replenishes the very embodiment of pop. Second track “Fish in the Sea” has a prompting and tumultuously heartfelt verse, with broken chords enumerating the valorous and undeniably deferential lyrical stagecraft. This traditional operandi to newfangled music exercises some of the most enrapturing and dashing chorus’s on record, almost symmetrical to ‘Badly Drawn Boys’ spectacularly unambiguous sounds: Notably an authority who “GTAA” has been known to work with. Delineating the opening tracks is simplistic: Dazzling with an illusion of poetic sleekness within the melodies.
Undeniably “GTAA” has that much supplicated ability to make every singular instrument count in the overall sound of the album. By sanctioning room to breathe in this albums innovative environment, the relishable sound is mobilized without the need to eschew productivity or exploration; in songs such as “Six Twenty Nine” the lead guitar extrudes high up within the mix overlaying the vocals with a meandering, funky catenation of lead breaks. Throughout the whole of “The Time, The Place”, every instrument is being played too its full extent, and even then it never gets unduly straining: This is unalloyed and magical talent.
This concept album revolves around the adventures of life, and delightedly it careens towards an arduously cheerful and affectionate semblance. Sung by an individual who appears to have plenty of occasions to commemorate, his deep and bass weighted, distinct voice entrances you in the meaning of landmark days people experience: Hence the songs “New Years Day”, “Wedding Bells” and “Birthday”. Coalescing aspects of these events (Fireworks ceremonializing “New Years Day”, using segments of wedding vows for lyrics in “Wedding Bells”, and a chorus of “Happy Birthday” on the albums last song”) brings these audio interpretations of those occasions to life. A project not facilely conducted.
Granting lyrical connotations and musical adventurism to co-function makes “The Time, The Place” a splendidly intense and exceptional album from a man erupting away from the mainstream category of ‘Pop’ music. An equitable and dignified album siphoned in a way that most people can unhesitatingly have something intermutual with: evident from his support of the World Cup campaign, all the way too the alternative anthem about roistering, coordinating references to ales such as “Newcastle Brown”. From the more receding moments to the all out musically deluged sections, “GTAA” has released an album of outstanding verity and expertise.
(Picture courtesy of Amazon)