The Arrival of The Black-Face Wonder Years

A logical progression, to be sure. It's full of 'em. Where once there was seven, now there is eleven — and a cover to match. Reviews have been unanimously ecstatic, as expected, and sales have already soared passed the stratosphere and into unread record books. And what of the content? Well, it ranges seamlessly from stripped-bare to overwrought and suffocating, with a few stops at Lanoir station along the way. As rumour has it, the dynamic duo might begin a tour before the year is out — let's hope they come here this time. Contrary to the critics' response, Bucket Men are reported to be less than satisfied by this effort. "It's not our best work," said the enigmatic rhythm section in an interview last night, whilst the good-natured lead dismissed it as "O.K" to the same. Personally, I find it a most remarkable recording that displays their diversity in eleven perfectly crafted tracks. A particular favourite of mine was the amazing title track that closes the album, one of the few songwriting collaborations on the record.

NME have typically jumped the gun and labeled it their 'best record to date', placing it hastily at the business end of their current top 100. And in a surprising turn of events, no singles were released for this album, with the assurance that they'd be releasing a few A-sides in December.

Though some have labeled Bucket Men — particularly the younger sibling — self-indulgent egomaniacs, I still think they are the best thing to happen to popular music in a long time. I don't find them egotistical at all. Not humble Bucket Men...