At the risk of seeming like a lazy reviewer, the press release for Mabused!, the third album by Kim Fahy-led psychedelic pop princes The Mabuses, didn't lie when it said the album is “not one easily shoehorned into traditional ‘sounds like’ press speak.” And how. But for the sake of convenience, The Mabuses are often cited as kindred spirits to those within the Elephant 6 collective or clever UK legends XTC. The most appropriate comparison, however, is definitely to “Nanny in Manhattan”-era Lilys, as both bands share a fondness, bordering on obsession, with the grandeur of mid- to late-1960s British pomp. While this statement is not that large a stretch -- Lilys do possess more than a few tangible ties to E6 and have been mentioned and measured alongside erudite English acts like XTC in their time too -- for me, the similarities between the two acts are eerie. Even Fahy’s voice tends to sound uncannily like Kurt Heasley’s at times.
Yes, there is more than a little dappling in dandyism going on with Mabused!. “Dark Star” is a candy-coated cracker that trumpets in the album like one should trumpet in an album: with contagious chords and melodies, and yes, why not... trumpets. Next is “Seasider,” which sounds like one of Noel Gallagher’s more jaunty numbers -- not necessarily a bad thing depending on where your Brit-pop alliances lay. There are also a number of off-the-wall transmits thrown in for good measure, like on “Havana,” where the band defiantly mixes things up with a cod-Latin vibe as they dig in their collective Cuban heels to tell a story with slick verbiage and rhythms. Subsequently, songs like “Sugarland” and “Glass Eyed Pitter Patter” almost out-Shins The Shins (or brush up comfortably to Mercer’s quiet style at least). “Tiger Lilies” and “Garden Devils” are two delightful instrumental dalliances that are among the most enjoyable songs on the album. Both are cute and conjure up pastoral beauty and soundtrack score but mix in some devilish strings and intent. Like a spoonful of naughty in a bowl of nice.
When Fahy flexes his songwriting muscles (the superb shuffle-pop of “Mirth”; everything mentioned above) he displays more strength than the brawniest of Anglophile Atlases. But there is a lot to take in on Mabused!, and it tends to give too many secrets out too readily. While the album at times hits with a lot of style, it also often feels labored. It is an odd hybrid that tries to be a cohesive pop album, but it is also a whole bunch of others things, to wildly varying degrees of success. Some songs are just plain throwaway: “Russian Roulette,” “June,” “Destination,” and “Byayaba” could have been left on the cutting-room floor without any tears shed by this listener. “I’m the Greatest” (which I misread at first and hoped would be a cover of the awesome A House track “I Am the Greatest”) suffers from a malaise that defines so much of the second half of the album, leaving me with a shoulder-shrug instead of a fist-raise. The album drags, falling under the weight of too many tracks, weakening its impact and punch. Despite the promise, Mabused! is unfortunately an inconclusive affair; entertaining enough while it lasts, but ending with a “Is that it”? rather than a “Wow, that’s it!” Unfortunately, that is not good enough for more than three out of five around these parts.
1. Dark Star
2. Seasider
3. Mirth
4. Sugarland
5. Byayaba
6. Havana
7. Tiger Lilies
8. June
9. I’m the Greatest
10. Feast
11. Glass Eyed Pitter Patter
12. Garden Devils
13. Russian Roulette
14. Destination