Remove the name irony and you have a rollicking good UK band adding fully fledged homegrown sensibilities into the beating heart of 'transatlantic implied Americana'. You sense the work of Matt Owens bubbling upwards in recent years and the latest output overflows with guile, potency and richly layered rock-infused songwriting intent. The journey from the heady heights of Noah and the Whale to unlocking the treasures of the Delusional Vanity Project is shaping up conveniently for listeners switched on to Matt Owens' organic approach to cultivating a fresh identity. WAY OUT WEST toys with heartfelt sentiment and tightly spun rock defining the current space commandeered.
Two tracks into the album and high octane cards are laid on the table. If charging your listener with upbeat energy from the off is the aim then look no further than the rocking duo of 'One for the Grapes' and 'Glasgow City Lights'. The former wastes no time in the opening slot inducing head nodding, foot tapping and hip moving within the realm of a funky rock beat. The latter is an unabated slice of air punching heartland rock re-fashioned for the UK's urban landscape. All good albums have finely tuned gear changes and '5 Years into Marriage' fabulously spins the axis of momentum. The result is an updating of the quintessential duet with no shortage of pain, panache and ladles of touching honesty. The esteemed Hannah White is Owens' duet partner and an ideal match from a close knit movement of shared ideals. The slower pace is retained as the offering slips into 'You're Not Gone' a song capably toughening up the ballad arena with a tender core peeping out of a gruff exterior.
The Delusional Vanity Project is a bunch of talented musicians and they get ample outings to shine across the record. One such instance is on 'Blindsided by Time' where the band focus ramps up on a mid-tempo rocker with guitar parts strutting out full of polish and pomp. In contrast, the next track 'Morning Light' draws you specifically into the vocals of Owens exposing a depth of purpose.
The second half of this eleven track collection kicks off with a couple songs suggesting things are now in full swing. 'Both Sides of the Line' nails the concept of melody in another finely curated mid-tempo effort creating the perfect template for vocals, lyrics and band input to flourish. There are moments when a change of tack re-enforces the album's appeal and 'The Bard of the Bars' meets the challenge here. This spritely piano-driven number with a folk underbelly embodies the classic English pop song story as perfected by the iconic Ray Davies and framed by Matt Owens for the modern age.
Harmonica is a perpetual feature of the sound and its intro opens a window on the wares of 'Hope the Darkness Pulls You Through', where the song lures you into a deeper listen, likely to the the delight of a songwriter craving for their work to be savoured and understood. The track has an added dimension of a further Delusional Vanity Project interjection to provide greater flavour. This seamlessly leads into 'Death, Sickness and Heartache' possessing the appeal of the band being let off the leash with amazing results. The common trait of an acoustic closer concludes a super release with harmonica interludes weaving their way into a final story song rinsed in nostalgia. Name checking is rife as a journey is documented. Listen closely to 'Twickenham Station' and it all comes together in the final throes.
Optimum pace, sincere songwriting and a cultured band input give WAY OUT WEST the substance to capture the present. Matt Owens escorts open ears through a journey of thoughtful song and portable sound. Whether rocking out or guiding you through softer moments, you sense an innate talent coming to fruition. This is one vanity project far from delusional.
