Considering that The Duke Spirit is so often billed as a band that is permanently placed right at the innermost edge of mainstream success, it would be easy to assume that the inevitable make-or-break moment has finally come for the London-based quintet to either jump off or move on.
Their 2005 debut ‘Cuts Across The Land‘ arrived with a certain sort of old-school swagger that combined with the introduction to the allure of frontwoman Leila Moss to make the group appear as if they were eventually bound for a big breakthrough.
The smoothed-out psychedelia of 2008’s ‘Neptune‘ was a far more focused affair, but the fact that it ultimately fell through the cracks made it difficult to determine whether the band was simply building steam rather than just blowing a gasket.
Three years later and the response is here in the form of ‘Bruiser‘, a calculated yet uncomplicated effort that showcases a more sophisticated style of songwriting that The Duke Spirit has hinted at over the years, yet never rightfully explored. Recorded in Los Angeles with renowned hard rock engineer Andrew Scheps, the album aims first and foremost for a higher quality of sound, stripping away any excess scuzz in order to allow each instrument the right amount of room to breathe on its own. The end result is a sharper, sleeker production; one that puts the group out in front, particularly the rhythm section of Mark Sallis and Olly Betts, whose bass and drums are as beefed up as ever.
As if to prove that point as soon as possible, the album opener ‘Cherry Tree‘ begins with a rolling thunder of tom and snare before Sallis’ first fuzz note sets the stage for Moss to step in with her sultry sing-speak delivery. The second track ‘Procession‘ follows in a similar direction, and may be the strongest of the bunch. Guitarists Luke Ford and Toby Butler weave a web of delayed whammy effects over another airtight groove, while Moss’ accusatory tone walks the line between the personal and political just before it all comes together amidst an open-space breakdown of distorted bass and layered vocals.
Even with a new suped-up sound and structure, the success of ‘Bruiser’ still sways on the star-quality that surrounds Leila Moss. Her sheer presence cuts straight through each song on the record, whether it’s the slow stab-wound lament of the piano-led ‘Villain‘ or a piercing coo that comes atop the smoky grunge that is ‘Bodies‘. In general, her stance here is more songstress than seductress. The shift has its own appeal with the soft choral arrangements that carry the slow balladry of ‘De Lux‘ and ‘Sweet Bitter Sweet‘, but it’s hard not to think that she will forever be at her best when doing her damaged yet dangerous tough-chick routine on more up-tempo rockers like ‘Surrender‘ and ‘Everybody’s Under Your Spell‘.
Despite the usual provocative performance from Moss and the isolated instrumentation of Scheps’ production, something about the album as a whole still feels a bit lacking. The latter half doesn’t have the same sort of urgency as the first, and whereas there are several really strong songs in here, there isn’t that one unforgettable standout track that can rise up to will the weaker ones across the finish line.
To be fair, there will always be some unreasonable expectations that come with any upwardly mobile band’s third release, let alone one that follows a good six years after their initial entrance. While The Duke Spirit have managed to meet those expectations with ‘Bruiser’, it’s hard not to wonder what could have happened if instead they exceeded them.
The Duke Spirit will headline the Live4ever Media Official CMJ 2011 Showcase at the Brooklyn Bowl, October 18th. For full details and free RSVP, click here.
(Beau De Lang)
