Under Northern Lights – Little Murders (Off the Hip)
Nine studio albums in and Little Murders might just have this rock-pop caper nailed. Again. “Under Northern Lights” showcases what songwriter, band leader and sole constant member Rob Griffiths and his current, and most enduring line-up, do so well.
So that’s a wrap for this review.
You don’t get off that easy. At least not until you’ve been thoroughly sold the virtues of “Under Northern Lights”. It should be an easy task if you set the tracks running in the background on Bandcamp. Let’s get stuck in.
“Under Northern Lights” is 11 pop songs powered by blues-flecked rock guitar licks and coloured by truckloads of melody. Griffiths’ laddish vocal swings from rafters built of solid harmony vocals, aided and abetted by a few choice guests, notably members of The Killjoys.
The band of Griffiths (vocals and rhythm guitar), Rod Hayward (guitar), Bruce Minty (bass) and Shaun Lohoar (drums) rocks regally. Two guitars, bass and drums. You don’t need much more – although good songs help.
Glad you asked. The songs obviously owe much to the ‘60s - as should any pop rock record – but Griffiths isn’t beholden to any one precursor. It’s Beatles up the wazoo but Beach Boys and Ramones too. This is what you don’t hear on radio - unless it’s community in nature and impervious to major label mediocrity.
The album’s the work of a band whose members are totally at ease with each other. That can’t be faked. Ask The Stems, The On and Ons, Sunnyboys and others who have been on the same wavelength.
“Please Don’t Worry About The Government” has a faux “Ghost Riders In The Sky” intro before Shaun Lohoar gets on his toms and lays down a pattern. If the edgy vocal doesn’t tell you then the lyrics should let you know that its’s another COVID song, ironically written in the Australian state that made lockdowns an art form. Rod Hayward’s ringing guitar line caps a strong lead-off track.
“It Ain’t Easy” revels in a simple melody line and a guy-girl harmony that hits just right. The harmonies are killer throughout. Anna Barclay, Barb Waters, Mick Barclay and (producer) Craig Pilkington can take a collective bow for adding their vocal icing on the cake.
Wherever you listen, the songs are the thing. “Don’t Call It Love” was destined for Wrong Turn. Boy, did they miss out. ”Tonight Tonight Tonight” is so good it was named three times (that's one better than Woy Woy.) “Wait Til Summer Comes” is a vinyl single and is a little more muscular than the rest of the album. Its hook hits like unbottled pop lightning.
The urgent “Kings Cross Dawning” is a leftover track from an eaerlier line-up f(the one on “Dig For Plenty” )and is re-packaged Stones style with a brass coda to suit.
“Til Monday Comes Around” is a Griffiths story about growing up on Bowie in early ‘70s Blackpool. The title track references the same place. As if to underline that inspiiration is circular and what goes around comes around, “Dagger In My Heart” is a track by Griffiths’ other band The Fiction given a Little Murders makeover. Hayward’s guitar solo is a stand-out.
There are Little Murders fans and there are the oblivious. Belonging to the former means a new album is always gonna sound good. It’s only half a dozen plays in but this one is their strongest to date.
