The Shortwave Set - Replica Sun Machine

Jul 9, 2008

It's 3 years since The Shortwave Set released their debut album, The Debt Collection on Independiente Records. The album was a quirky affair that mixed samples with traditional instruments and was described by the band themselves as 'Victorian Funk'. Accompanied by some endearingly ramshackle live shows, the London based three-piece (well, vocalist Ulrika Bjorsne is originally from Sweden) garnered several favourable reviews, but failed to set the charts alight, resulting in them parting company with their record label. 2008 has seen them decamp to the Californian sunshine to record the self-financed follow up and pick up where The Debt Collection left off...

One thing they do seem to have acquired throughout their relatively short careers as well as a new label (Wall Of Sound picked them up on the strength of the new album) is a rather famous fan base. 'Replica Sun Machine' is produced by the second busiest man in the business, Danger Mouse (there still seems to be no overtaking the ubiquitous Timbaland) who became a fan of The Debt Collection and invited the band to support Gnarls Barkley. We also see contributions from Beach Boys collaborator Van Dyke Parks as well as legendary Velvet Underground man John Cale.

It's no surprise that with the kind of guidance on offer here as well as a complete change of scenery, The Shortwave Set's sophomore album Replica Sun Machine is a more focussed affair than their first. The sound is crisp and clear and the songs have avoided the drifting off into nothing feel that occasionally blighted their debut. Their influences can also be unashamedly heard on certain tracks on the album. 'Now Til 69' is a glam piano-led stomp which sees frontman Andrew Pettitt channelling David Bowie whilst 'House Of Lies' sees him taking on a pseudo Lennon persona. The band haven't lost their sense of humour or lyrical stylings either. 'Everybody knows that a dog dressed in clothes is still a dog' sings Bjorsne repeatedly on the single, 'No Social'. Of the impressive collaborative input, the work that Parks has put in is especially prevalent, with the strings sounding lush and frequently cinematic, particularly on 'Yesterdays To Come', a track that in a more just world would see the Bond producers looking their way. There are a couple of lower points on the album, but thankfully they are few and far between. 'I Know' seems a bit by the numbers with some weird effects added for the sake of it, while opener 'Harmonium' doesn't exactly welcome us with a bang. For the most part though, this is a solid follow-up to what was an interesting debut album that will hopefully see them shift a few more units.

Harry Powell

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