Dear Catastrophe

Not since If You’re Feeling Sinister have Belle and Sebastian really delivered an album they were capable of. The Boy with the Arab Strap was a mediocre but worthy extension of Sinister. Fold Your Hands Child, You Walk Like a Peasant saw band leader Stuart Murdoch riding shotgun while the rest of the band took turns at playing boss - a move that nearly killed their credibility altogether. Director Todd Solondz most recently rushed the band into finishing the soundtrack to his terrible Storytelling film, resulting inan album that matched the quality of Solondz’s work.  

Two bad moves in a row led Murdoch back to the helm of B&S, this time, on his own terms. When news got out that the band had chosen innovator Trevor Horn (also the man who killed off Yes), as their producer, things seemed to be looking up.

Opening with “Step Into My Office, Baby,” it’s clear right away that B&S are back in full form. The funny tale of office politics plays out like a whimsical British comedy and works as a perfect return for the band. Next up is the title track which, like their own “Dog On Wheel,” is an obvious symbol of their affection for Arthur Lee’s Love. The fully orchestrated and hilarious song could serve as a perfect theme song for waitresses everywhere.

“If She Wants Me” is a slower pop song with a gem of a hook; “If I could do one near perfect thing I’d be happy. They’d write it on my grave or when they scatter my ashes.

On second thought I’d rather hang about and be there with my best friend if she wants me.” Along with a handful of other songs on Waitress, “If She Want’s Me” provides an argument that Waitress includes Murdoch’s best writing thus far.

“I’m a Cuckoo” has “hit” written all over it. The timeless song personifies their 60s British Invasion-esque sound as well as anything since Sinister and also gives a good example of what Horn brings to the band. Adding slight synth effects and layer after layer of sound, Horn makes simple British rock sound clean and fancy enough to be an American television commercial.

The greatest moments on Waitress solidify the album as a great achievement and, most importantly, the return of B&S. While over half of the album is infectious, hilarious and charming, the slower tracks, (often not sung by Murdoch) bring Waitress out of the clutches of greatness. Not even songs like “Piazza, New York Catcher,” which explore Mike Piazza’s sexuality can make up for the albums faults.

The final three tracks on the album, specifically the concluding track, add an experimental flair to Waitress, most definitely brought on by Horn’s production. Hopefully the return to form sticks around long enough for B&S to release another pop gem. If not, songs like “If You Find Yourself Caught in Love” aren’t going anywhere.     8.5/10

Written by G. William Locke