Album review: 'Bubblegum' by Mark Lanegan

Bubblegum

Hit the City makes a strong case for putting Mark Lanegan's voice somewhere noisy. The organ and guitars supply a rough forward motion, while PJ Harvey's vocal adds a presence sharp enough to challenge him. Bubblegum gives that sort of friction as much room as its quieter songs.

The album opens in a different mood. When Your Number Isn't Up is spare and patient, leaving Lanegan's low voice exposed against a subdued setting. It establishes an intimacy that survives even when the record becomes much heavier. The musicians change from track to track, but the singing gives the sequence a clear centre.

Methamphetamine Blues is the most effective harder piece. Its clattering rhythm and rough instrumental surface make the song feel driven rather than merely loud. Sideways in Reverse takes a more straightforward route, using a simple riff to provide an efficient burst of movement. Neither track needs to turn Lanegan into a conventional hard-rock frontman. His steadiness is part of what makes the noise around him interesting.

One Hundred Days is a stronger example of the slower writing. Its melody unfolds with enough patience to let the feeling emerge without an oversized chorus. Strange Religion also benefits from keeping the arrangement relatively open. These songs reveal a warmth inside the low register that the more aggressive material can hide.

The guest appearances are useful because they change the texture without redirecting the album towards a series of featured performances. Harvey is the clearest contrast, but the other players mostly help construct settings that suit the individual songs. The record's variety comes from the relationship between those settings and Lanegan's consistent presence.

There are moments when the images and moods become too familiar, and not every shorter rocker has the character of Hit the City. Even so, Bubblegum is a compelling collection with an unusually convincing range. Its best songs connect abrasive rock and intimate songwriting through the same direct voice, making the distance between those approaches feel much smaller than expected.