I’ve seen a soundbite, somewhere in the press, where David Holmes refers to his new album as him “Shouting from the rooftops.” Personally I have nothing but respect for the man, who understands that success has built him a platform, and decided it to use it to ask folks to stop, think, and, fingers-crossed, take action. In Blind On A Galloping Horse, David, ably assisted by singer / songwriter Raven Violet, has produced a record that proudly pushes his humanitarian politics and ideals. The pair set out their stall with the opening salvo, When People Are Occupied, Resistance Is Justified. It’s important to state that the songs here were written way, way before the Israel–Hamas war. Having grown up in 1970s Belfast, a city torn apart by sectarian violence, and its subsequent English policing, David understandably seems to have a strong affinity with people from other countries who live, day to day, with heavily armed foreign soldiers on their streets. Underlining, illustrating this, in places the pieces are segued by the voices of Afghan and Ukrainian refugees, who’ve been forced to find new homes in Northern Ireland. 

The album, David’s first solo work since 2008, has actually been trailered, promised, for just over two years, with the release of four promo singles. All of these tracks are included on the LP, and are still highlights: The propulsive, pulsing motorik of Hope Is The Last Thing To Die, the bruising electro beats, and rabble rousing rock chorus, of It’s Over If We Run Out Of Love, Necessary Genius, which races, rockets, and reels off a long list of notable names, artists who’ve worked against the odds, outside of the mainstream, plus Stop Apologising, whose catchy glam stomp pomp by rights should be topping the UK pop charts. Effectively protest songs, everything on the album is driven by David’s signature kosmische and 1960s girl group-influenced electronics. Raven’s kinda gothic growl, is that of a groovy go-go dancer that you definitely don’t want to get on the wrong side of. The music is modern, but packed with timeless, I’m assuming, vintage analogue, touches. Machines – I imagine them with valves giving off a warm, orange, glow – making Mellotron / Moog motifs, and dancing, high-pitched harpsichord-like figures. I see a room full of mad professor dials and switches directing the buzz and drone.  

Love In The Upside Down is narcotic, narcissistic disco, with a bottom-heavy bump. I Laugh Myself To Sleep is a cracking collaboration with David’s late, sorely missed, mate, Andrew Weatherall. Together they deliver a dark electro rock `n` roll rumble, that mixes the raucous rebellious rockabilly, of bands beloved by Weatherall, such as The Meteors, with early melodica-blowing New Order. Its drum machine rhythm shaken by Sex Pistol / Steve Jones-esque powerchords. The Weatherall connection continues on Too Muchroom. Trippy, trance-y, and almost acid house, its multi-tracked mantra of “If you’re not living on the edge, then you’re taking too much room”, was something he often quoted. 

There are two outstanding instrumentals. You Will Know Me By The Smell Of Onions* is a slice of bass-booming serenity. Like Phil Spector floating out in space, Conny Plank at the controls. Joe Meek’s I Hear A New World made smooth and sleek. Agitprop 13, despite its title, is free of Situationist sloganeering. Instead, weaving a wired waltz from a plethora of live, echoed, instruments. Imagine Primal Scream coming down, while watching Czech cult classic, Valerie’s Week Of Wonders. The Scream attempting a Don Cherry, or Pharoah Sanders. However, as the press one-sheet makes plain, the album in its entirety is meant as “a call to arms”. Emotionally Clear, a kind of glam ballad, lays the blame for our current situation at everyone’s door, and two famous phrases spring to mind… “The sleep of reason produces monsters”… “The only thing necessary for the triumph of evil is for good men to do nothing.” The closing, titular track, while also slowing the pace, is a piano-led anthem, its sights set on strengthening self-belief and repelling trolls, parasites, haters, and detractors. Frustrated and fucked off, the album’s authors are attempting to flatten folks’ feelings of hopelessness. The fourteen songs certainly serve to agitate. Now we need to organise. 

David Holmes & Raven Violet’s Blind On A Galloping Horse is out now on Heavenly Recordings. 

*This is also a nod to Weatherall who once wrote an article, titled “And You Shall Know Me By My Trail of Onions”, and which features in Yianni Papoutsis and Scott Collins’ book, The MEATliquor Chronicles.