“Welcome to the deal of the century,” sings Londonite Jem Doulton on the opening track of his recent album Deal of the Century. It’s a clever narrative hook that draws the listener into the burning matters of the present. The subtly political, glaringly philosophical, and often sarcastic lyrics (“Tory, Tory, same old Tory”) found throughout the album run alongside progressive musical arrangements that merge space-sized rock jams with kaleidoscopic synths and ambient textures to culminate in this wonderfully blithe record.
Doulton’s vocal performances rest between indifferently detached and passionately involved. On the break-up salve “Don’t Suppose”, he ruminates on the flimsy nature of human interactions with a self-aware hokiness. The music is far from steadfast, segueing from sweet sentiments to apocalyptic jazz fusion. This anything-goes approach produces the dance-party-at-a-haunted-house vibes of “Svetlana” and the elaborate noodling of “The Whip”, which is as indecipherable as it is brutally full-on.
There is a smorgasbord of sounds and styles on this record. However, Doulton eschews catchy choruses and attention-grabbing dynamics in favour of literate pieces that swirl continuously in psychedelic waters. For example, “At’ em Boy” is a mid-tempo fever dream that operates around a militaristic drum beat and war-conscious lyrics before playing out with an alluring sax solo. Doulton is well-socialized in the underground scene, and his post as drummer for The Thurston Moore Group places him within a circle of artists with whom to collaborate. “Deal of the Century” has too many collaborators to count on your fingers and toes. They are Alex Ward, Luca ‘Zoo’ Franzoni, Kevin Toublant, Hannes Plattmeier, Leo Kurunis, Marion Andrau, Eva Manca, Ruth Goller, Jacqui Ellul, Ash Gardner, Jess Hannar, Steve Pretty, Laura Loriga, Deb Googe, Jon Leidecker/Wobbly, Thurston Moore, Claudia Giglio, James Sedwards, Agathe Max, Ben Doulton, Katrin Ebersohn and Alex Bonney.
Too many cooks spoil the broth. However, on Deal of the Century, the wealth of hands produces exotic flavours. Much like a Hawaiin pizza brings incongruous elements together, it somehow works. That being said, pineapples on pizza is a divisive issue, and this record is not for those with a limited palate.
“Snake Oil Salesman” stands out for its sashay, acidic lyrics (“I can’t take blowjobs for the rent”), a semblance of a catchy chorus, and Italian spoken word. “Rusting Away” is a pleasant and memorable slice of distinctly British-sounding alternative pop. This classily written number (“I don’t know what I should sing about now, I’m rusting away”) is elevated by a shredding guitar solo and a sonically rich outro. “Into The Jetstream” is the biggest banger and closes the album with its most consistent and straightforward moment. Its heavenly coda shows what happens when Doulton opts for a simpler approach.
It may take a few listens for Deal of the Century by Jem Doulton to make sense, but when it does you’ll enjoy high-minded, experimental, and energetic music. Doulton is an imaginative songwriter who colours his abstract stories with nonpartisan instrumentation, collaborators galore, and an eagerness to experiment.
★★★½