It’s been a long time, but the seventh album from Trashcan Sinatras has finally arrived – and it feels like they’ve never been away.  Ever The Optimist combines melodicism with perceptive lyricism – to an ever-present background of jangly guitars.

UNQUENCHABLE CURIOSITY AND ALL-PERVADING OPTIMISM

Doesn’t time fly?  Did anyone realise that it’s been 10 years since Ayrshire’s indie rock quintet last released a studio album?  It’s true – Wild Pendulum, the band’s last album emerged from the presses in mid-2016 and, since then, there’s been a live album and 2022’s Lay Of The Land EP but, on the whole, it’s been quiet in Trashcan Sinatraland.

There’s been plenty of fanfare ahead of Ever The Optimist.  A string of singles – most recently, the album’s vibrant title track, which hit the airwaves just a few days ago.  And, now the long-awaited album is finally with us, it almost feels like Trashcan Sinatras have never been away.  For a start, the band’s enduring lineup remains unchanged, with co-writer/ vocalist Francis Reader still leading the charge and with trusted lieutenants Paul Livingston (guitar), John Douglas (guitar), Stephen Douglas (drums) and Davy Huges (bass) still very much on board.

Despite their longevity, Trashcan Sinatras have always maintained a determination never to descend into the morass of becoming a mere heritage act.  And, with Ever the Optimist, they continue their policy of seeking fresh inspiration, fueled by their unquenchable curiosity and an all-pervading optimism.  That policy is crystalised by Ever The Optimist.

GUITARS THAT CHIME AND SHIMMER

It’s the album’s title track that gets Ever the Optimist underway and, as statement of intent, things couldn’t be made clearer.  Bluesy piano sets the agenda and the song has a soulful 60s feel.  Francis’s voice is way upfront and the backing vocals are soft and smooth – in marked contrast to the lively – almost punky – sound of the band, a sound that isn’t compromised in the slightest by the discrete strings.

We recently remarked upon the: “…feeling of wellbeing [that] oozes from the grooves” of Games for the ZX Spectrum, another of the singles that previewed Ever the Optimist.  And that’s a feeling that the song continues to inspire after repeated listens.  The guitars chime and the vocals are soft, sweet and laid-back.  The perfect song for these lazy summer days, in fact.

Tracyanne Cambell of Camera Obscura joins Trashcan Sinatras on backing vocals for Bad Husband.  It’s one of those deceptive songs that wraps a stark story of breakup in a bright, glittery tune.  “Darkly buoyant,” as it’s described in the album’s press release – and that’s a good summary.  And, the brightness shows no sign of fading with The Bitter End, another sparkly, breezy number.  The shimmering guitars and the harmony vocals recall The Byrds, whilst the driving rhythm is reminiscent of the halcyon days of Britpop.

HUMOUR AND PHILOSOPHY

The mood is gentler for A View From Nowhere and Francis reduces his vocal tones to almost a whisper accordingly.  Davy’s bass and Stephen’s drums are the prominent features of the accompaniment – but the guitars continue to chime…  And, the mellow mood is continued for Hold On To Today.  Francis duets with Green Gartside of Scritti Politti and there’s a touch of both humour and philosophy about his lyrics – “Life is terrible and wonderful in both the same time and place” – in a reflective song.  It’s so reflective, in fact, that even the guitars take the opportunity to pause a while in thought.

Despite its title, The Associated Funk isn’t particularly funky.  But it’s pulsing, chugging and it’s driven along by Davy and Stephen’s strong rhythm.  There’s a dark edge to Francis’s vocals and, of course, the guitars of Paul and John continue to sprinkle their spangly magic.

Electric piano and cascades of strings supply the surprising intro to Rome, the album’s most singular track.  The mood is eerie, with a scrapy-scratching sound dominating.  The mystery deepens as the strings continue to shiver and shake and the guitar sound is brash and uncompromising.  Francis’s vocals are distant, yet tuneful and the overall effect is strange and alluring.

MELODIC AND SINISTER

The Byrds-y melodicism returns for Melodramatic and this time there’s a distinct country feel.  And the melodic theme continues for Birds I Couldn’t Identify – an engaging, poppy song that develops an interesting ornithological theme into something that’s far more personal and poignant.

And, to close, Trashcan Sinatras rediscover their more sinister aspect for final track, Learning to Love Your Ghost.  “What’re you gonna do but survive?” asks Francis, as the band grinds out the bass-rich backing.  Strings rise in prominence as Francis’s anguished voice fades, before it’s eventually drowned in the surging sounds of the album’s epic coda.

Welcome back, Trashcan Sinatras!

Watch Trashcan Sinatras perform Ever The Optimist – the album’s title track, live at Irvine’s Harbour Arts Centre – below:

Trashcan Sinatras: Website

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