"I Melt with You"
will forever be the one specific moment that's
Modern English
's place in
pop
history, but the album it came from,
After the Snow
, isn't anything to sneeze at either. Indeed, in transforming from the quite fine but dour young miserabilists on
Mesh & Lace
to a brighter incarnation who still had a melancholy side, the quintet found exactly the right combination best-suited for their abilities. Like contemporaries
B-Movie
and
the Sound
,
used
punk
post-punk
roots as a chance to introduce a haunting, beautiful take on romance and emotion, while the contributions of
Stephen Walker
on keyboard helped make the album both of its time and timeless. That said, the secret weapon on the album is the rhythm section of
Michael Conroy
Richard Brown
, able to shift from the polite but relentless
tribal
beat clatter on the excellent
"Life in the Gladhouse"
to the ever more intense punch of the title track, the album's unheralded masterpiece. None of this is to denigrate the contributions of singer
Robbie Grey
and guitarist
Gary McDowell
. The former's seemingly mannered singing actually shows a remarkable fluidity at points --
"After the Snow"
again is a good reference point, as is the fraught, slow-burn epic
"Dawn Chorus"
-- while
McDowell
works around the band's various arrangements instead of trying to dominate them. Some songs, like
"Face of Wood,"
even find
-- often dogged with
Joy Division
comparisons early on -- predicting where
New Order
would go before that band got there itself. Still,
is the main reason most will want to investigate further. A perfect
moment that didn't have to strain for it, its balance of giddy sentiment and heartfelt passion matched with a rush of acoustic and electric guitar overdubs just can't be beat. ~ Ned Raggett