ALBUM: Debonair (2021) - Horsey
1. Sippy Cup
2. Arms and Legs
3. Underground
4. Everyone’s Tongue
5. Wharf (i)
6. Wharf (ii)
7. Lagoon
8. 1070
9. Clown
10. Leaving Song
11. Seahorse
I considered how I could give an elevator pitch about this album. I would lead with the fact that the fourth track on this record, Everyone’s Tongue, is an operatic rock-ballad of a man being eaten by a shark, featuring the heartfelt lyrics, “I’m gonna jizz/ I’m gonna jizz.”
London’s Horsey were formed in 2016, consisting of Theo McCabe, Jacob Read (aka Jerkcurb), Jack Marshall, George Bass. To say Horsey run in the same circles as King Krule is an understatement; they share band members, family members, probably tuck each other into bed at night. Therefore I made the prejudgment of thinking Horsey shared the same jangly guitars and major sevenths as King Krule. I was pleasantly shocked that it was so much more than that; Horsey’s debut album Debonair from 2021 is a theatrical one man show, flowing from thoughtful interludes to Phantom of the Opera shrieks and shrills.
This record is hyperactive and restless, full of staccatos and jabs, poking you in the ribcage from the very first track. It loves to slide into pockets, find a hole in the fabric, get inside the lining, undo the stitching, do it back up again, replace a button, until you have a completely new item of clothing from the one you started out with. I mean that this album, without hesitation, jumps like a flea from groove to groove, sound to sound, emotion to emotion, etc. It’s a powerhouse of a debut, undoubtably, and ultimately does what it wants. I do, however, question wether it gets lost in its own showmanship, or is it showy for rhyme and reason.
Sippy Cup, the first single released for Debonair, hits you immediately with post-punk-expected rumbling drum fills and organs. It’s a jolly track that throws you into this theatrical world. Even the vocals have a broadway-ness to them, with moments of lead-man crooning. It’s bright, jabby and a sunny introduction to this rock-opera of an album. It’s a Good Morning Baltimore.
Underground is the track that drew me into this record. I think it’s a bizarre little song; you could’ve found it on a Sufjan Stevens Christmas album in another lifetime. Tinkling bells, drum pounds, and vibraphones reminiscent of the Vision On gallery theme, and gorgeous subtle vocals. I absolutely love this track.
In another moment of subtlety, we have Wharf (i), one of the most streamed songs. It’s a track quite lost in time: this could be a Vangelis piece or the intro of a nineties R&B girlband’s steamy ballad. It feels like I’m waiting for Janet Jackson or SWV to start singing. It’s a beautiful pause in the album.
This effortlessly slides into Wharf (ii), which may be another favourite on the record for me. This is a powerhouse of a song: staggering and pointy, coming at you from all angles combined with angelic subtle verses. An unexpected menacing guitar riff and rumbling drums swoon in out of nowhere like something out of an old Bond film; utterly theatrical and darkly romantic. A proper rock ballad.
Lagoon follows, jumping into an unexpected jolly Elvis Costello or Aztec Camera-like jingle. Hammering down on a piano like Billy Joel on speed, this is catchy with a major spring in its step. And before you know it we’re back to another operatic shanty with Clown. This is the seventh layer of the album; pure noise, swaying guitars, circus organs, screaming vocals, a hardcore breakdown?! It’s almost a piss take of post-punk, and I wouldn’t put it past them to pull our legs. This is a band that doesn’t take themselves too seriously whilst having love and respect for their craft.
The album departs with Seahorse, featuring King Krule, and is the weakest song on the album for me. Considering the ride we’ve just been on for thirty minutes, this feels a bit of a let down to leave the album on. By all means, it’s a pleasant echo-y haunting song but it is disappointing, almost, that this is the most streamed song on the album when there are some really unique gems that have gone vastly under-listened to. I reckon Debonair could have been left on the song before, timely titled Leaving Song.
This album delightfully shocked me; it has some musical moments that shine unbelievably brightly. But I consider wether it’s too showy. Is it too much? Is it prancing around all over the place just because it can? Is this album merely just a male peacock with a tad too many feathers on his tale? Is Debonair just a post-punk rip-off of Hocus Pocus by Focus?
Well, Focus didn’t have to sing Joladadijoladadijoladadijoladadi/ Joladadijoladadi-jo-o-ooh/ Joladadijoladadijoladadijoladadi/ Joladadijoladadi-jo-o-ooh/ Oooooh-oooooh-oooooh-oooooh. And Horsey didn’t have to scream that they’re being eaten by a shark and that they’ve jizzed themselves. But they both did, and it’s mad and it’s lost in itself, but it just works overall.
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GIVE IT A REST
My On-Repeats
Forgive me, but I have pretty much been exclusively listening to Oasis for going on two months now. I’ve had to implement Oasis-detoxes to cleanse my palette.
I went on a date the other day and he said that the first gig he ever went to was Oasis. And, write this down, it was their fifth last show ever. It was probably a shit gig considering all the brotherly love and all, but fucking Oasis?! I’ve watched the documentary, seen all their interviews, tried to buy a signed Christmas card from 1997 - I don’t know what’s possessed me. Nevertheless, there’s no shame in Oasis. I find it very comforting, very representative of a certain time in my life. And they’ve got a lot of good songs, if you didn’t know.
Some of my on-repeats, ranked:
5. D’You Know What I Mean
I’m not very well versed in my post-What’s The Story Oasis, but this song is a funny one. It has the potential to be pretty average with a chorus like All my people right here right now/D’You know what I mean. But with the random morse code beeps in the background, some Garbage-like drums, some nice strings and that guitar hook, this one just lands for me.
4. Some Might Say
Awwwwhhhh. A Beatles concoction of heartbreaking lyrics with a jingly tune. Some Might Say just makes me go a bit gooey. It’s an all-rounder for me.
3. Listen Up
This may be Supersonic’s less successful, less appreciated fraternal twin but it’s one of my favourites. This is 100% down to the descending chords in the bridge, I fall for it every time. But Liam’s vocal strains are another fantastic element as well as the tone on the lead guitar. And this is a long song! Over 6 and a half minutes! Even better!
2. Morning Glory
I know I’m pulling out all the entry level songs out of my pocket, but Morning Glory is just so objectively brilliant. That crunchy runaway riff flying away from you, it’s an energetic song in every sense. What else can I say about this without just going Awwwughhhhhh it’s just so good?!
1. Supersonic
Entry level again, not sorry. The intro gets me every single time; such a tease with just the drums, riff and those cascading sliding creeks. It’s like the song is warming up to be a belter. Almost nursery rhyme-y lyrics with a low riff like that just works so well. I can’t let myself listen to it too much, I’ll spoil a good thing. But this is my favourite. This is one of their best. A lot of my friends disagree. But perhaps that is just because I’ve absolutely rinsed it to death.
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Lastly… Something Old (you get it), Something New (you get it), Something Borrowed (a recommendation), Something Blue (a sad one)
Something Old
IGGY POP - NIGHTCLUBBING A recent Trainspotting viewing arose this song for me. So mischievous, sultry, a song that demands to be walked to.
Something New
SHAME - ADDERALL Featuring backing vocals from Phoebe Bridgers, Adderall shows shame’s slower tempo abilities. This is one of the best tracks the band has delivered; a ballad with hammering guitar and a beautiful descending middle 8 and a glorious finish.
Something Borrowed
BAMSTER & IKEDA - PUSH MY* My friend Z sent me this song, knowing our shared love for sleazy pop. This song is just that: electronic dirt, dripping with pop with glitch elements. Perfectly highlights the resurgence of indie sleaze and nostalgic pop from our childhoods in contemporary alternative pop.
Something Blue
THE VELVET UNDERGROUND - CANDY SAYS The song speaks of Candy Darling’s experiences as a trans woman: Candy says, I’ve come to hate my body and all that it requires in this world. Doug Yule’s tender vocals amalgamate for this to be one of the saddest songs I've ever heard.
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