GENERAL WINTER'S SECRET MUSEUM

I'll start off by saying thanks to Dan for the free album sent across the pond to the UK. I was excited when I got the parcel, and I was certainly not disappointed by the product, their debut effort: 'General Winter's Secret Museum'.

Upon first listen the elements that stood out were the level of composition and dedication to interesting and ever developing song structures. In addition to this, I was intrigued by the various guitar sounds on display (being a guitarist I suppose that's natural), especially some of the beautiful acoustic sounds. I was instantly won over by the vocals, and the arrangement of the backing vocals - all good but superb in places.

After a number of listens I started to appreciate the melodies and rhythmic aspects of the individual tracks:

The album begins with 'Werewolves'. Although the opening can be accused of being a little predictable, I enjoyed the subtle time signature shift from two bars of 4/4 to a bar of 7/4 which the vocal melody seems to snake around well. The post-chorus bass part is elegantly performed and provides a perfect transition to a louder recapitulation of the opening riff, this time with soaring vox. Love that falsetto moment at 2.20 going to the major third and filling in that harmonic note that the guitar power chord leaves out. We then get a beautiful recap of the bass figure, with vox, which moves to what could be an entirely different song, if it weren't for the extremely subtle references to the opening couple of minutes. Again, I enjoyed the melody in the latter half of this track immensely.

'Cool Smack' weirdly reminded me of a kind of soft Breed 77! I think it is the combination of close vocal arrangement and heavy drums and guitars. Possibly also the dotted rhythm of the melody line too. Some nice phasing FX on the guitars in this track, but I was most impressed with the bass lines: really solid and heavy in the big sections, but fast-paced and interesting in the more contrapuntal sections. Lovely B section and it was satisfying to return to the original song before concluding in a (beautifully sounding) acoustic guitar figure, sort of a Steve Knightly/ Martyn Joseph-esq folk-rock line.

'Big Al' presents more of those well-arranged backing vocals. Not sure about the guitar line throughout the exposition, but the follow-up sonority at 3.12 is awesome. Really nice sounds coming out there. Upon first listen, I assumed the passage beginning at 3.32 was intending to reinstate the opening sonority of the first track of the album, as they are extremely similar textures! Perhaps this layering of the guitars in the way is just a tea club signature move?

The softer 'Castle Builder' shows of the bands skill in harmonic arrangement with some lovely chord transitions and voicings. The melody is perfect for the song; the interesting and contrapuntal drums in the 'second verse' (if I may call it that) don't seem to negate them at all - Definitely one of my favourite tracks on the album.

'Purple Chukz' contains a new acoustic tone, which shows of the proficiency of the guitarist. However, it's one of the weaker on the album, and I find I have to be in a particular mood to enjoy this one. That said when I am in that mood - it's a pleasure to listen to!

'The Clincher' is a ternary form track with loads of interest. It demonstrates the bands capacity to radically changed motifs/melodies/riffs/styles without seeming to far removed from each other. I big fat rock track in some respects, but with another soft mid-section.

'Will Of The Wisp' started with those haunting vox again, and the backing vocals are perfectly balanced against the principle melody. Lots of layers guitars with complimentary tones. The track benefits from little rhythmic digressions, such as the 6/8 around the 1.30 mark, and the 5/8 to 4/8+2/8 section starting 2.10. The vocal melody is well thought out and takes the focus whilst the accompaniment perfectly complements what is happening in the melody - another of my favourites from the album.

'The Moon' - Did not expect the transition to a harder sound at 0.50! I am glad the softer feel returns. This one definitely grew on me - my focus is always on the way the vox and backing vox constantly wind around each other and occasionally are tutti which creates a few contrasting moments of texture. The vocals on this track are particularly brilliant - especially the 'black branches like knives' section - fabulous climax. 'The Moon' also showcases the band's use of electro-acoustic material, which is well places, restrained and very effective - especially the synthy strings.

'Ice Clock' - The falsetto and the intervallic-leaping chorus figure are excellent. Interesting chords and again (although I keep commenting on it) the intricate backing vocals. Best bit of the track and possibly the album - 'to become the moon freak, and avenge these memories' at 4.10. What can I say, this phrase is truly brilliant, and the climax of the album in my opinion.

In conclusion, The Tea Club's debut is a fantastic effort in many respects. In particular, the arranging, the harmony and the approach to song writing on show here are all of top quality. I would suggest that the song writing approach is the main progressive element - the tea club could not be accused of uninteresting song structures!

A solid 4.5 stars.