Skin could sing a Health and Safety policy, replete with appendices, and make it sound heartfelt, deep and relevant, so it’s little surprise that she is, once again, the undoubted star of Skunk Anansie’s new album Anarchytecture (Spinefarm), their third since reforming and sixth overall. Showing a more considered side, though resplendent in the 90’s production tones their angsty rock used to be defined by, this time around Skunk Anansie are dialling back the vitriol.

While it is hard not to compare where they are now with who they were then, surely a band is only judged against who they were if their current output doesn’t stack up? So, while perhaps only Led Zeppelin should expect the song to remain the same (even though theirs weren’t) and repetition leads only to contempt and ever diminishing returns in the world of musical delights, it is a shame that, once again, maturing or developing as songwriters doesn’t actually equate to better song-writing. In fact, maturity, or indeed banality sees a regression as, pleasant and deliberately crafted as the fare on offer is, other than the distinctive and excellent velvet of Skin’s timbre, Anarchytecture is complete wallpaper. And not even the crazy fucked up wallpaper your grandparents had from the 70’s, but magnolia.

Which isn’t to say there is a dearth of decent material, though, it’s just that all through we are greeted by inoffensive, pleasant if entirely competent and decent songs. Electro-tinged pop mingles with alt.rock.lite on ‘Love Someone Else’, a steady stroll that isn’t a million miles from where Madonna was around the turn of the millennium, ‘Beauty Is Your Curse’ jangles as Skin seems to get a little hot under the collar and ‘Death To The Lovers’ is a sparse, and emotive sensitive number, where once again Skin dazzles with delicacy. Yet high spots are scant, as the remainder of the album meanders away, until the excellent ‘Suckers!’ builds over the course of a minute and a half before cruelly, suddenly stopping in its tracks, replaced by close-but-no-cigar plod staccato ‘We Are The Flames’.

‘Little Baby Swastikkka’ turned heads, ‘Weak’ proved that vulnerability and power could dovetail exceptionally, ‘Hedonism’ was poppy-magic, ‘Charlie Big Potato’ shook things up, and Skunk Anansie were proudly, boldly different and defiant. Skunk Anansie used to be about statements. Musical, political, aesthetic, they made an impact. Anarchytecture simply shakes your hand and wishes you a good day. No matter the maturation process, there is no excuse for safe and uninspired songwriting.

 

5.5/10

STEVE TOVEY

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