Firstly: three years after Kavus Torabi’s old employers Cardiacs were forced to drop their torch (leaving their compulsive, convulsive music scattered on the ground), he finally seems to have acknowledged that he’s the person to pick it up what remains and to run on with it. Secondly: the transformation of Kavus’ Knifeworld project into a full band with fresh blood and new sounds (Craig Fortnam’s burnished-copper basslines, Chloe Herington’s fierce battery of reeds, Emmett Elvin’s assured way with harpsichord and Rhodes) give it some of the sturdy anchors it’s lacked and has hankered for. And thirdly: if a boy grows up near the sea, you can take him away from it but he’ll wash back in on his own tide.
Possibly inspired by Kavus’s native Plymouth, ‘Dear Lord, No Deal’ has turned out decidedly maritime. Oceanic and naval metaphors wash gently through it and open it up with watery fingers. At the very least, Kavus is pushing the boat out. While Knifeworld’s previous single ‘Pissed Up on Brake Fluid’ was a catchy straight-ahead rock belter (belying the band’s complex and wandering spirit) their follow-up EP places an expansive musical imagination upfront.
Pilot Her is the opener: an unreliably cheerful tugboat jolting along as triple-jointed power pop (both nicking from and nodding to Cardiacs, via the choppy beat-slipping riff from Too Many Irons in the Fire). As the band judder out the chorus, Kavus plays fretful figurehead. “Plans that give themselves away,” he muses. “All of the things she did for me… she’s all I hear, she’s all I see.” Lyrically it’s something more than boy-meets-girl, something less than happy-ever-after. Musically, it could be some kind of corps anthem (when the band aren’t spasming away at thrash-metal in the breaks) until a squad of sway-backed woodwinds amble past in a completely different rhythm.
Elsewhere, Dear Lord No Deal itself is lost somewhere in the hull, tinkering around and looking out for a hatchway. A raw acoustic strum, clambering over ever-changing Zappa-esque strata of rhythm or mood, it bumps into harpsichord and tootling organ as it goes. Its queasy narrative avoids looking too closely at anything, perhaps for good reason, as shapeless guilts, confusing awakenings and dawn-flits are all seeping into the picture. “I got a bad feeling about last week and now it’s time to split the scene – / I kept my part of the bargain, kept myself unseen.”
Furthest out there is HMS Washout, in which Knifeworld reveal just how far they’ve cut loose. Foreboding, despair, elation, and vivid whisper-to-wallop dynamics unfold over fourteen rich minutes of compelling maritime mindscape. Little is explicit, though the song hints at a landscape of betrayal and abandonment (“Touch them, the bridges that can’t take the load… it always seems like it’s someone you know…”). Much of it is cryptic, including the gently washing centre section in which a thick-tongued Kavus, becalmed like the Ancient Mariner, whispers murmurs of disillusion (“Cut loose and with scurvy, / crew sent me seaworthy / and all that I could say / was ‘Saw their arms away’…”) only to be answered by an eerie choir of drowned sailors.
Throughout, the music breathes and turns like a treacherous sea. Sometimes it’s an ominous ambient lull full of waterline clunks and creaking timbers; sometimes a fragmented shanty; sometimes a blaze of unhinged trumpet-mouthpiece riffle and thunderous drum pummel (part Mahavishnu spray, part Pharoah’s Dance burnt up in a rush of St Elmo’s Fire). Laden with psychedelic paranoia and stranded at a midpoint of grief, the song finally bursts out into a defiant apotheosis. A looping math-rock guitar reels; violins, saxes and woodwind at full joyous stomp; and the song’s own troubled lyrics snatched back up again, this time as a battle cry.
It might be lonely out there, but they’ve dragged up exultation with their very fingernails. From some angles, it’s all much like a post-punk re-imagining of A Plague of Lighthouse Keepers; the sea-bound, expressionistic Van der Graff Generator nightmare epic of isolation, regret and madness. While Knifeworld ultimately offer something less explicit (and maybe, more accepting), they’re tapping into the same wild ambition. Torch grabbed. Hurtle on.
Knifeworld: ‘Dear Lord, No Deal’
Believer’s Roast, BR004
Released: 4th July 2011
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(updated, May 2015) Original EP now deleted: all tracks are now available on the compilation album ‘Home Of The Newly Departed’.