It's What I'm Thinking
Badly Drawn Boy
It's What I'm Thinking (Part One: Photographing Snowflakes)
Damon "Badly Drawn Boy" Gough's career is one of many variations of the all-too-perfect example of how the music industry has lost its mind. His breakthrough debut, 2000's The House of the Bewilderbeast, came along just as rampant file sharing crimes were hitting their stride. Within three years there were two million new bands on the Internet, countless music blogs and a huge number of failing record labels, artists and record stores. Bewilderbeast, a classic debut that easily ranks among the best intro records of the Naughts, set the bar high for BDB - a bar he easily hurdled with his second release, a soundtrack for the film About a Boy. Seeming on his way, BDB never again found the acclaim, fandom, attention or sales the first two records brought, instead, fading into the endless crowd of modern indie.
The consensus has been, amongst both writers and listeners it seems, that BDB hasn't done much worth listening to since those first two records. Sure, you'll find the loving press for each album, but, in general, one would think that - on paper - BDB's career died in 2003. Not true. Every BDB album I've heard (and there have been lots) is at least decent and includes a few great songs. The problem is that the sound has never been as shockingly unique as it was on Bewilderbeast. That, and the fact that, once you lose your steam in this modern day music world, you're all but done, regardless of how good your records are.
Last year Gough released Is There Nothing We Could Do?, a soundtrack for a TV film called "The Fattest Man in Britain," available only in the UK. Reviews were seemingly on board again, predicting that whatever Gough did next would be worth checking out, even if his time in the spotlight has passed. And now here it is, It's What I'm Thinking (Part One: Photographing Snowflakes), the first in a trilogy of themed albums and BDB's first proper studio release since 2006's Born In the UK. His fan base and media attention a fraction of what it was in 2002, the album has thus far been well received, many calling the record not just his best work since Bewilderbeast, but his most complete work yet.
Meh. False. Not even close to true. Yeah, sure, it's better than UK and One Plus One Is One, but probably not Have You Fed the Fish or About - and certainly not Bewilderbeast. The writing and compositions on Snowflakes are, however, his by-far most mature and patient work yet, and maybe his most detailed since his early days. The songs, most of which are simultaneously mellow and grand, often feature cinematic swells and melody, understated vocals and organic production. While there aren't a huge number of pop songs that could register as singles, most of the material here comes stocked with memorable hooks, the real meat focused on Gough's lush compositions and lazy bedhead vocals. "The Order of Things," one of Snowflakes' standouts, is made perfect for scarf season mixtures; mellow, comfy and mood setting, it's one of Gough's best cuts yet, full of sing-along lines and clever production decor. "What Tomorrow Brings," another big winner, keeps it simple, not utilizing the sparse drum machine programming used throughout the bulk of the record, instead focused on the writing and delicate string arrangements.
If nothing else, Snowflakes is the album that will keep Gough going. It's too good of a record to do anything but bring back some old fans and maybe make a few newbies. The inventive pop of Bewilderbeast may forever be gone, but that okay. With songs like these, we're reminded why Gough was so good to begin with - he can write strong songs and has a great indie-pop voice. Elliott Smith's archives now tapped out and Benoit Pioulard still struggling to find his fans, Badly Drawn Boy once again stands as your best bet when it comes to winter-friendly singer/songwriter pop. A welcome return, even if the appeal is different. 7.25/10
