Badly Drawn Boy - One Plus One Is One

After 'The Hour Of Bewilderbeast', Damon Gough followed its success with a string of albums produced in glitzy, high-profile American studios with former Elliott Smith cohort, Tom Rothrock. Sadly, it was quickly evident that a shiny-coated, rock angle does the hatted one no favours. Both albums lacked what made 'Bewilderbeast' so initialling endearing: naivety and lo-fi, heartfelt production.

'One Plus One Is One' is that return to former childhood experience. A place where Gough can freely write songs away from the huge pressure to write an equal successor to 'Bewilderbeast'. And it works beautifully. Close friend and producer of 'Bewilderbeast' Andy Votel, has ensured that Gough's music remains untouched by bland studio trickery, during the playful recording sessions. Without the over-powering slick production to hide behind, it leaves the main focus on Gough's writing ability.

The occasional samples of smokey pub scenes become part of the music itself, while Gough's backwards singing on 'Life Turned Upside Down' is confusing to say the least. Listening to the likes of Vashti Bunyan (obscure 60's female folk-singer) during the sessions, certainly reflects in the stripped, naturistic recording without deliberately sounding sketchy. Most numbers are led by the traditional set-up of piano, guitar, vocals and accompanied by weird woodwind parts. Yet the songs themselves are equal to any on the debut, only gone are the days of casio beats and dusty keyboards.

The inclusion of a childrens choir on both latest single 'Year Of The Rat' and 'Holy Grail', mark a horrible cheesy commercial effort. But he has to shift copies of the album somehow and sketchy acoustic tracks are way-off from high chart positions. The rest of 'One Plus One..', is the sound of Badly Drawn Boy letting his hair down and having a lot of fun again. Plus writing bloody great songs along the way. It's a firm grower & realises the potential of his capabilities once again. This time he's really excelled himself.

8/10