There are few acts as reliable as The Hepburns. They release albums on a frequent basis and each one is packed with the wittiest of songs, conveyed by a variety of music styles. Their new album sees them heroically out of time and in the finest form on a record which celebrates “the ordinary, the downtrodden and the broken”.
The Hepburns seem to take delight in allowing the listener to spot the unusual reference points. They borrow The Monochrome Set’s technique for super-fast jangly guitars for ‘Sad, Free, Excited And Empty’. The verses to ‘Man Missing’ are strongly reminiscent of ‘Don’t Talk To Me About Love’ by Altered Images but rather worryingly, ‘Nobody Loves Me’ seems to borrow its tune from Fred Wedlock’s ‘The Oldest Swinger In Town’. Yet the funniest moments are reserved for ‘One More Notch On The Bedspot’ where frontman Matt Jones declares ‘You keep a spreadsheet on the bed sheet just so you can keep track, of what you did to who and when, who’s best in the sack”.
Still, the longevity of a band needs to stretch beyond mere novelty value and Jones and crew always have sparkling indie pop gems to offer. ‘Delores’ sees the group take on barbershop vocals whilst ‘Ken Park: The Man, The Film’ balances their familiar penchant for humour with the warmest of melodies. They even create a brilliant jazz-funk instrumental for ‘Save Your Stories For The Police, Maurice’.
Far from going through the motions, on ‘How The Fallen Are Mighty’ The Hepburns show no signs of slowing down either lyrically or in terms of musical invention. Their cult concern is summed up neatly by the addition of Japanese commentary next to their lyric sheets.
The Monochrome Set