REVIEW // ULTIMATE PAINTING
Ultimate Painting have their debut self-titled album out today – consisting of ten great songs. Out on the Trouble In Mind label, the London based duo have set out a well crafted, prosaic ode to the twists and trials behind the veneer of our modern lives. James Hoare on guitar / vocals (Veronica Falls/ The Proper Ornaments) and Jack Cooper on guitar/ vocals (Mazes) live supported by American Jeremy Jay on guitar and another Mazes member, Neil Robinson on drums, deliver a darkly brooding, bitter sweet tonic to the end of summer with the chill of autumnal winds blowing and the melancholic decay of Winter, not far away.
The first song, ‘Ultimate Painting’, is in every sense of the word, bouncy, but with a contrast of sparse back beat drums: “I don’t know what I’m thinking – blind faith never blinking”. With easy, uplifting melodic rifts, deep bass and dance worthy tuneage – it sets the tone for an album steeped in the human spirits capacity for hope against all odds. Jack Cooper on main vocals excels here with James Hoare’s harmonies in perfect accord. ‘Can’t You See’ is a sudden change, with deep vocals and an air of menace at the start – reminiscent of Nico and Patti Smith – “Can’t you see what’s in front of you? Don’t feel the need to hang on to your pride”. The self confessional tone lures the listener to want to delve further in – the songs replete in information that seems all at once universal and yet also deeply personal. It is addictive stuff.
‘Central Park Blues’ is best described as a Dylan type structured piece, with James and Jack at vocals, almost folksy like banjo sounding guitars – you want to hear the story unfold – a personal tale of a day in the life. An English mans tale of being lost and found in New York. ‘Riverside’ has both vocalists harmonise in a very Syd Barrett way – a spacey psych lament – a soft ballad with deep organ like keys, form a central motif like some funeral pyre. ‘Ten Street’ hints at OCD, with simple lyrics, then a stark line to shock and surprise in the chorus, “I don’t know the reason for this desperation”. Hendrix synth up guitar solos ensue, drip beat loud drums and almost free form jazz compositional arrangements, with desolate piano keys only to end.
‘Rolling In the Deep End’ opines “It’s all instant gratification”…”you can’t move you’re paralysed”. The song is quite upbeat but underlying menace rises again here – a softly shot ghost bullet to your heart, that takes you by surprise. Repetitive rhythms and structures which add to the claustrophobic feel – “there’s nowhere left to hide”. ‘She’s A Bomb’ is a little like a Beatles song – mixing beat, pop, psych elements into an Indie / shoegaze structure. James and Jacks vocals take turns and compliment each other to great effect, with guitars and siren like effects utilised and a talking lyric ending by Jack.
The end track is pretty close to the ultimate definition of the word sublime. ‘Winter In Your Heart’ conveys the feeling that whilst it may be Summer, or any other time – it is always ‘Winter In Your Heart’. A wonderful number to bring an accomplished album to an end. Melancholic beauty as this sunny song hits you square between the eyes, so that it hurts – conveying the dull pain of humanity, the crosses we all bear and ultimately the hope we carry to get us through, to the end.
