Madness, Sadness, Gladness

Recorded in four feet of snow in Sweden, yet capable of transporting you instantly to sunny climes with its surface sheen of glossy pop, Madness, Sadness, Gladness showcases a band in maturation. That maturing can best be examined in the more thoughtful reworking of ‘She’, with it’s emotive vocal and evocative strings turning what was once a comparatively mundane effort it into one classy ballad.

For despite building a catalogue of accomplished pop jingles, Picturehouse have always hinted at being more than just shiny happy popsters. Prick the surface of a song like ‘Everybody Loves My Girl’ and you’ll find more than a touch of angry menace in the lyrics and in Dave Brown’s “too sensible to be trusted” vocal. Even the introspective ‘Keeping Mum’ has an epic, brooding gravitas created by plaintive strings and an aching vocal.

‘Pornstar’ is brimful of REM, not least in Steo Farrell’s jangly guitar and Browne’s Stiped-up voice. The current single ‘Breathe’ is a heavier workout, a fine slab of adult pop, as is ‘Breaking In’ with its late Beatles harmonies. ‘Gifted Child’ uses synths and strings to build tension and atmosphere without burying the sentiment of the song. ‘Wishing On Stars’ is a superbly-crafted and wistful song about the fragility of dreams.

But there are flaws. Unfortunately, ‘Lonely Like The Sun’ has Vocoder Buggles-style vocals, and the effect bores after about half a verse. ‘Safe’ has a Neil Young feel to it that remains undeveloped and it eventually slides uncomfortably into no man’s land.

Madness, Sadness, Gladness should introduce Picturehouse to a more grown-up audience while still keeping the pop kids queuing at the box office. Not too many bands can do that.