![]() ‘Help’ and ‘Kids’ manage to bring the spirit of Old Souls yet fit perfectly into the new poppier sound created by the Veck-Gilodi brothers and Mike Horner ( Hot Chip, Jess Glynne ). In terms of standout moments there is a versatility too, with the album equally as good when we’re singing along to the optimistic pop-rock of ‘19 Dreams’ which plays with melodies not too dissimilar to Pale Waves, enjoying the electro-pop smile of ‘Someone/Somewhere’ (featuring duo IDER ), or are deep in the acoustic reflections and contemplations of ‘Nevermind’. This new lease of life gained by the shedding of skin and the dissolution of the band line-up – Deaf Havana now being solely made up of brothers James and Matty Veck-Gilodi – has allowed The Present Is A Foreign Land to exist. You see, Deaf Havana isn’t supposed to be here anymore, and to have been deprived of The Present Is A Foreign Land ( SO Recordings ) would have been a great pity, because this is a collection of songs that, while sounding different again to its predecessors, maintains significant identity and is as strong as any previous best work released under the Deaf Havana banner a resounding statement of the vitality of a being that had nearly given up hope and breath. As time and tides have drifted by, and the bottoms of many a bottle have been pointed to the sky, Havana has become less of a “band” and more of a working name for a close duo. From their post-hardcore beginnings, through flirtations with pop-punk, Americana and classic rock, more overt pop music, and indie, the other constant anchor has been the quality of the song-writing of James Veck-Gilodi. ![]() Musical progression and development has been a constant and key part of the story of Deaf Havana.
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