Never too late to experience another missed juggernaut, even if this striking band – Ex-Vöid – is no more.

Remember March, when we kicked off our Quick Takes strand, enthusing about The Tubs? What this old fogey didn’t realise then, was a whole other band that Owen Williams, the Tubs’ RT soundalike vocalist, was involved with. This is Ex-Vöid, where he is paired with (another) ex-Joanna Gruesome alumnus, the singer, Lan McArdle. It would be tempting to call them the Linda to his Richard, but that would be too easy and too lazy, given the stylistic palette of grungy power-pop and melodic post-punk. (Kami and James Walbourne might conceivably be a better fit).

TRANSCENDANT JANGLE

This is album number two for this band, following 2022’s Bigger Than Before, with an eponymous EP, ahead that, in 2018. A four piece, they encompass the two names above, on largely duet vocals, with Williams supplying also most the guitar, in a mix of transcendent jangle, moshworthy scything riffs and brief salvos of J.Mascis like distorted soloing. Laurie Foster and George Rothman supply chunky bass and motorik drums respectively, with McArdle adding additional guitar.. An uncredited organ also swirls peripherally to add further density to the mix.

The opener, Swansea, immediately gives notice of intent, as a creaky judder of feedback is swiftly followed by a clatter of drums, to which a gloriously chiming guitar bolts on, in time honoured way. Belligerent bass and the joint vocals strike up and we’re off. The sound isn’t far removed from the Tubs, but that is no bad thing. The title track follows, on a welter of XTC styled rhythmic quirkiness. As one guitar revolves a repeated motif, the second applies fuzzchord majesty. The influences come pouring in; I can also hear R.E.M. in the song structures.

EFFERVESCENT SPARKLE

The set continues with the effervescent sparkle of July and, then, Nightmare, where the guitar part could easily be taken by banjo, should they wished to ramp up the folk influence beyond the vocals, Williams fully acknowledges his Thompson-esque low pitched warble, enjoying the comparisons. Pinhead is a punkier thrash, but, via the consistency of the vocal join between Williams and McArdle, there is a constant that cleaves all the other contrasts together. And if Lonely Girls sound like all to much of the same, suddenly, as the chorus kicks in, with a turn of a sixpence sidestep of melody, the realisation hits that this is the Lucinda, no relation, Williams song of the same name! Respect!

Nirvana are always going to be a touchplate, and there is a distinct hit of the Seattle grungesters in Sara. McArdle starts the song solo, if only for a couple of bars those bars enough to suggest that is something that more of could easily be borne. Through Strange Insinuation and into Down The Drain, it is only then that the lyrics begin to filter through with any great clarity. I get that, accepting it is the overall wall of sound that is the designed imprint, but, keep out an ear, if you can, as the words are supremely bittersweet, conveying all the abject hopelessness of how a relationship breakdown can hit. Both singers experienced such, ahead and during the writing of this record, informing much the mood. Down The Drain suggests little way back.

SIBLING STYLE SOLILOQUY

After all the jittery rush of the album so far, track number 10, Outline, is a delectable turnaround, stripped right back into just strummed guitars and voices. But what voices; McArdle soars and sweeps, double tracked, over William’s deeper harmony, a soliloquy that evokes the country tinged flavours of an Everly Siblings, noughties style, if then finished off with a final flourish of feedback.

This album came out nearly a year ago. Sadly, the band announced their dissolution only recently, with a final show taking place in October. However, with McArdle having provided guest vocals already for The Tubs, who is to say what might come next.

Here’s their hometown paean, Swansea:

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