Mexico City - Black Comedy (Album)
» Mexico City tour dates - April 28, 2009
After two EPs, Mexico City have at last released their debut album, however, Black Comedy bears no real surprises. The long-awaited album comes off as a series of ideas and, regrettably, nothing that sounds really original is compelling – most of the joy lies in what Black Comedy reminds you of, not what it actually is.
Opener 'Change Your Mind' is reminiscent of Creedence Clearwater Revival’s rendition of 'I Put a Spell on You' and is played with deliberate sloppiness as vocalist Adam Toole conjures thoughts of Nick Cave.
'Carolina' has been given the 'Harvest' barn treatment but has the same tempo as its precursor, which makes it somewhat tedious.
Featuring Chris “Cosi” Costello’s contemplative piano and the competent pedal steel of Halfway’s Noel Fitzpatrick, 'When You Say You Love Me (I Don't Believe You),' is pleasing. However, herein lies one of the album’s biggest misfortunes: the guest musicians (including the album’s producer, Michael Carpenter) frequently outshine the band rather than complement them, and are often the best thing this album offers.
Producer Michael Carpenter (Youth Group, 78 Saab, The City Lights) achieves the feel of Neil Young’s 1975 album Zuma on 'Babe Hold the Phone'; its awkward, stilted groove featuring another classic Neil Young trademark – unison bends.
'Ain't No Lie' is suggestive of Bob Dylan’s 'Highway 51' and 'Like A Dream' sounds similar to the jangly rock of the Rolling Stones’ 'It’s All Over Now', or the Pictures’ 'Somethin’ I Don’t Know'.
'I Stepped Outside' has some acutely disconcerting vocal phrasing and a repeated scream that evokes an image of Anne from Little Britain; it’s really quite challenging to listen to.
Another pleasing track, 'Canefield Blues', closes Black Comedy but it comes too late as one of few good songs on an otherwise lacklustre album.
The biggest fault I can find in Mexico City’s songwriting is a fault that is common among many songwriters: they take a genuinely good idea and overuse it to the point of monotony. One good idea does not make a good song, and ten good ideas do not make a good album.
There are enough reminders of Neil Young and Crazy Horse here, so it’s disappointing, yet not particularly surprising, that despite their clearly-evident good intentions Mexico City do not possess the ability to accomplish anything of the former’s magnitude.
