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Using powerful percussion, Paul Marshall's skillful playing of 6-string (electric) guitar and the soaring backing vocals of XL Recordings' Blue Roses, 'The Lovers'
began to emerge from its corner as a proud, lean fighter of a record, stripping back the traditional role and sound of a singer-songwriter motif, and heading into a territory that only the likes of Mark Hollis have dared tread. Neatly enough then that during the album's conception, Paul was called to appear - twice - upon a Talk Talk tribute charity compilation, alongside Recoil (Alan Wilder of Depeche Mode), Joan as Police Woman, King Creosote, and Richard Reed Parry (of Arcade Fire).
'The Lovers' showcases a truly modern yet timeless sound, epic in sonic and songwriting ambition. Marshall shares an affinity with contemporaries such as Wild Beasts, The Invisible and Radiohead (having toured with Phil Selway previously). His true sound is that of an unwillingness to compromise in face of increasingly rigid structures, musically and economically, hemming proper free expressive creativity. The Lovers has the kind of conceptual and songwriting bravery you turn to in the albums of yesteryear to relive, free of easy categorisation and pigeonholing - and all the stronger for it.
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