Stumpwork
Stumpwork takes some of the hurry out of Dry Cleaning without making their music more ordinary. Florence Shaw still sounds as though she is letting her thoughts wander aloud. Around her, the band more often choose softer sounds and extra space. The difference between delivery and backing remains interesting, partly because the musicians now sometimes move closer to her.
Anna Calls From The Arctic opens smoothly and rhythmically, with an almost dreamy lightness. It is a good introduction to the more spacious approach. Kwenchy Kups lets the bright guitars shine more clearly. Everyday subjects receive no lengthy explanation; the sound and small changes in the voice do enough to make something more of them.
The rhythm section remains important. On Driver's Story, bass provides stability while the guitars can break out more fiercely. Its interruptions and movement disrupt the record's calm surface. Hot Penny Day chooses a funkier tension. Bass and instrumental details give it a physical movement that suits Shaw's controlled delivery.
Gary Ashby is smaller and more direct, taking a missing pet tortoise as its subject. Brief sung moments stand out because Shaw uses them so casually. No Decent Shoes For Rain gives grief a less straightforward form. Separate remarks and silences let the emotion emerge gradually without requiring a grand dramatic outburst.
The slower pace makes Stumpwork less attacking than the debut. Its appeal more often lies in details than an immediate shock. Listeners seeking the hard contrast of the earlier music receive something different. But richer sounds and precise interaction give this album enough strength of its own. Dry Cleaning stay recognisable while making more room for warmth, humour and unexpected gentleness.
