Casio synths, electronic drum pads, pastel moccasins and jackets with rolled up sleeves, all things which were consigned to the bin of things we used to like from the 80s are held up as things of wonder on this bizarre album, the gayest album you’ll ever hear by a couple of straight guys.
Based on the dodgy sidelines of fast living John De Lorean (of Back to the future car fame), the desirable celebrity girlfriends (such as Ursula Andress and Raquel Welsh), ripping of millions from the British government and running a massive drug running scam provides plenty of subjects to sing about on this concept album from LA producer Boom Bip and Super Furry Animals front man Gryff Rhys.

They obviously went out to make it sound as far away from their usual output as possible. After a recent glitch in Super Furry Animals’ output (’Phantom Power’ and ‘Love Kraft’), they came back with a vengeance last year with ‘Hey Venus!’ which is up there with the finest Furry material and now this, Gryff Rhys fans are well, being spoilt as well as being confused, the way they like it.
Over 45 minutes you get a host of guests such as Har Mar Superstar and Fatlip (but don’t mention Gorillaz style side projects, please) over an album which has been made with genuine 80s instruments resulting in an 80s sound so true that you’ll be able to smell the cheap hairspray emitting from the speakers.
‘I told her on Alderaan’ is indicative of the album, kicking off with a synth riff so dodgy you didn’t think it could get any more so, it does however when the 80s rock guitar riffs kick in resulting in a sound last heard on a Starship album, Gryff is on great form vocally also, his warm yearning being perfect accompaniment to the cold electronic 80s rock.
‘I lust u’ is deep electro pop reminiscent of Depeche Mode when Vince Clarke was a member and ‘Belfast’ has a camp synth middle eight which could have been lifted directly from a dramatic part of rubbish 80s cop show, ‘The Equaliser’ whilst ‘Michael Douglas’ is genuine 80s electro with a knowing nod to Kraftwerk.
‘Steel your girl’ is the nearest you’ll get to a Super Furry’s track and is drenched in loveliness while the pounding electro hip hop of ‘Luxury Pool’ is nearer to Boom Bips own material. Whereas The Last Shadow Puppets fails because Alex Turners voice doesn’t work without the superior drumming of fellow Arctic Monkey Matt Helders, Gryffs sideline is a victory because it is so estranged from anything you’ve ever heard him sing on before.
It could have ended so horribly wrong such as Chromeo’s output or the strangely applauded new album by Cut Copy whose cheese content is so high it’d give you nightmares for a month, even Kajagoogoo would be embarrassed tobe connected with and they’re Kajagoogoo for f**ks sake.
Could be one of the best albums of the Year.