Gomez: How we Operate

By Shain Shapiro

Gomez's spatially stylistic brew is a genre in itself. I still can't decide whether they are a rock band or not because lately, especially with their modestly received Split the Difference and live record Out West, they have drifted much more towards the Americana realm than ever before. Yet, trying to pinpoint and categorize Gomez is a fallacious task at best, as their new album, How We Operate, simply furthers that affirmation.

How We Operate is Gomez's self-proclaimed magnum opus or the record they have been wanting to make all their career, because now, their internal troubles, like insufficient label help and production assistance, have been quelled. Being able to focus primarily on the music, instead of whether or not your label will drop you, purports newfound creativity, and the new album, in certain moments, definitely emanates the new circumstances. Firstly, How We Operate does sound like an amalgamation of all the stylistic directions the septet has explored throughout their five other releases. In addition, in some specific moments, it emanates a theme of resurgence as Gomez sounds refreshed, reinvigorated, and at times, better than they ever have. Yet, one inherent dichotomy that attacks genre-less bands like Gomez is the absence of continuity. Gomez has struggled with this throughout their career, leading to losing much of their popularity in the UK and to having it reappear, seemingly out of nowhere, in North America. How We Operate, like the ridiculously underappreciated Split the Difference, is another example of Gomez trying to solve this problem and simply realizing that it is impossible. Instead, a juxtaposed set of tracks encompassing hard rock to delta blues is smeared into fifty minutes and instructed to get along. Like its older brother, How We Operate somehow manages this relationship but not without problems.

The first two tracks, "Notice" and "See the World," are brilliant, both filled with mature lyricism, opulent melodies, and sing-a-long choruses. Singers Ben Ottewell, Ian Ball, and Tom Gray show off their vocal chops and lyrical sensibility in fine form from the onset, exhibiting a possible sense of continuity in Gomez unseen since they won the Mercury Prize in 1996. After that, however, too many ingredients are thrown into the stew, and slowly, it begins to turn cloudy. "Girlshapedlovedrug," a paean to every female that gets off on broken hearts, flirts with more Brit-pop than Gomez is used to and comes off sounding too forced and consonant, like the collective is really not as jubilant as the melody hints. In addition, "Tear Your Love Apart," a throwback to the In Our Gun days mixed with "Catch Me Up" from Split the Difference, again sounds somewhat restrained, like the band is waiting for something to blow up in the background before the excitement kicks in. Regardless, "Chasing Ghosts with Alcohol," a bluesy tribute to being a musician, and the acoustic/electric hybrid "Don't Make Me Laugh" more closely mirror the impressive beginning, exhibiting the band’s most fearless and fearful emotions all at once and showcasing the group of old college buddies in fine form, despite not quite knowing what the form is supposed to sound like.

Maybe I am being a bit harsh; I do like this record, and I believe anyone who has grown up with Gomez will mirror my sentiments. Yet, it still comes off utterly confusing at times, because from song-to-song, trying to decipher the minds of these songwriters becomes nearly impossible. I think that is what makes Gomez so enjoyable. I like being confused and entertained simultaneously, and Gomez does that better then anyone else. Plus, there are some damn good tracks on this record as well, proving that music is often most compelling when conventions go the way of Old Yeller.

JamBase | United Kingdom
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http://www.gomez.co.uk

[Published on: 5/9/06]

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Comments

Grape Drank starstarstarstar Thu 5/11/2006 05:41PM
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Grape Drank

I rather like the new album in its fresher approach than STD - HWO continues the strong songwriting/sonic texture combination which peaked with my favorite of all the GOMEZ rekkid's, In Our Gun.

All Loving Liberal White Guy star Thu 5/11/2006 05:43PM
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All Loving Liberal White Guy

yuk!! gomez is a fablous band and i've been down with them since 98 when bring it on came out and won the mercury prize and they have been able to release one great album after another (2002's in our gun was the best) but how we operate is stale and trite. it's too adult contemporary. and now they're touring with dave matthews??!! WTF!! this once great band is now reduced to a shadow of themselves. this album is for total frat boys who think they're "heads" becasue they hang out at OAR and DMB shows. whats next?! is gomez gonna be touring with that overly self righetous and fake ass matisyahu gimmick?

tomjsci starstarstarstar Wed 5/17/2006 01:28PM
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a softer, more melodic feel than in past albums, but still a piece of their history I plan on cherishing. it's not trite, folks.

let's take a good look at this band . . . one moment ben ottewell will have you in tears singing "tijuana lady" and the next moment ian ball is singing souls into psychedlia with "army dub." love 'em. mpls.

mescking starstarstarstar Thu 5/18/2006 01:33PM
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mescking

This is the first Gomez studio album I bought, after getting into Out West. I can't really compare it to any of their earlier albums, but taken on its own, it has some good songs. It's feels a little to restrained and polished at times. But the more I listen to it, the more I like it, and it's pretty good