I received this album for review in the latter part of 2024 shortly after it was recorded and due to unforeseen circumstances did not get the opportunity to do so until now. Living In Shadows are a UK band based in the North East. The band was formed by singer Zoë Gilby and multi-instrumentalist Andy Champion during the lockdown of 2020, releasing their debut album Living In Shadows. The album was well received and in 2024 they released their second album Neon Burning which is the subject of this review. Following the release of their first album Zoë and Andy decided to take a more progressive sound. Although the album at first sounds very much in a pop style it is only when the songs are listened to for the second time that a richer and more Prog-like feel emerges. It would be far too easy to dismiss this album as a pop orientated project, though after listening to the complexity and quality of the compositions, musicianship and musicality The songs within have more substance with the benefit of the pop varnish making them more accessible to a wider audience.
My first encounter with Living In Shadows came when I was sent their single Cast Away which I promptly played on my radio show. After receiving the album for review it was a great reminder of how much I enjoyed this ear worm tune, as it is is the album’s opening gambit. With it’s gentle bass intro which maintained it’s rather pleasant growl throughout the song driven by a solid beat, Cast Away is sweetened by Fender Rhodes inflections and grippy guitar along with some great electronic jiggery pokery. The song pretty much ends as it begins with the gentle sway of the bass and Zoë’s lilting tones. Powerful and pacey stuff, and a great way to open an album. Powerful guitar chords and once again a solid beat intro announce the arrival of Who Are You, a song about confronting the narcissists in society of which there are many. I found Zoë Gilbey’s voice at times possesses an enchanting vibrato towards the latter syllables of a line in the lyric, something I found most enjoyable. Noticeable once again is the driving bass line that drives the song along to it’s conclusion. I was reminded very much of Kraan one of my favourite German bands, so tight is the guitar and bass. Guest musician Mark Williams adds a rather tasty guitar break as well as some great guitar chops further enhancing the rhythm. The Kraan sound really kicks in at the same time as this splendid guitar venture. A powerful song delivered with verve and finesse.
From it’s marimba-like opening and almost Steely Dan feel, Silently Dancing finds Zoë Gilby in full blown Sade mode as she sings of the virtue of reconnecting with nature, and done so in a beautifully tight and sophisticated way. Adorned with soft synth pads to add a smooth overall sound. In contrast is the more Prog influenced Wide Open Sky. With Mellotron strings and synth leading the way to some killer bass playing, it is easy to appreciate just how Andy Champion’s hands are well and truly full here. However, the vocals here lend themselves more towards Swing Out Sister than King Crimson. And that is no bad thing, because the melding of these two styles define Living In Shadows sound, and I for one find it refreshing to say the least. The heavily plucked guitar and DX7 sounds make for an exciting and full sound stage.
Slowing down the pace a little is the delightful Leaving Light. An enchanting song, very much keyboard driven, especially the almost Theremin-like synthesiser break. The crisp piano allowed Zoë Gilbey’s voice to narrate the lyric perfectly. With the exception of the title song, Leaving Light is perhaps the most atmospheric song on the album. Enhanced by the string synthesiser and a slight reverb on the vocals. In stark contrast once again throughout the album, Satellites finds the pair in different territory. I would ask King Crimson fans to form an orderly queue here as the Frippertronics guitar style pioneered in the late 70’s early 80’s by King Crimson guitarist Robert Fripp (other guitar techniques are available) they are very easy to spot and really throw in a curved ball. The dirty Hammond organ sound invokes a slightly aggressive edge to this song with Zoë Gilbey’s distorted voice along with her main vocal are the most powerful on the album. There’s a great guitar solo by Chris Sharkey who also produced the abum. Andy Champion’s bass yet again I can only describe as “mean”.
Perhaps the most impressive piece on the album for me is the lengthy Page By Page. At 10:15 minutes long it firmly sits nicely into the Prog category. However, that is where it ends. Living In Shadows have a great and distinctive sound. They have the ability to ignore musical boundaries and rather than break through them, they carefully dismantle them and allow the influences from either side flow in and embrace their stronger attributes. Page By Page pushes the envelope from numerous directions and whilst not in the league of being an opus stretches the pop vibe to it’s very limit. I for one am smitten by this and enjoyed every second from the subtle piano chords at the beginning right through to the funk based rhythms which ended up the most 80’s sounding song on the album and bops along just beautifully. That is, until a dreamy sequence at around four and a half minutes in following a great guitar solo by guest musician Mark Williams. Once again the soundstage from left to right as well as depth is full to the brim with sound and song. Guitar, bass and drums are so tight that before you know it, you look down and your foot is tapping. It is refreshing to hear keyboard sounds being used and making them new to a younger audience.
So, where is the title track? Well, it’s right at the end, the very last song. Is it a trail blazer? No! The only song under four minutes long Neon Burning is subtle and sophisticated. I would describe it as “sensual” and inviting. Most bands when considering sequencing an album rarely allow the most down tempo song on the album as their finale. With this in mind, Living In Shadows played a blinder. With the smooth Fender Rhodes piano sound and Zoë Gilbey singing in an almost whisper moved the pair into an almost jazz area. This gentle atmosphere sets the listener down gently after such a high and in an almost 70’s way, it worked. The musical capability here is astounding. The musical and technical know how and synergy between two musicians in what started as a studio project during lock down is mind boggling. Living In Shadows have achieved a unique phenomenon as a duo, and that is recording music with such scale and richness to each song. Their eighties leanings with regards to sound are of those I enjoyed immensely, bands like St Etienne and Goldfrapp. Both of whom were rich in melody and texture.
Shortly after Neon Burning was released Zoë and Andy expanded the band to a five piece with mark Williams on guitar, Ben Lawrence on keyboards and John Bradford on drums. I was lucky enough to be invited by the band to attend a gig they staged in Newcastle Upon Tyne which sadly I could not attend due to other commitments. I will not miss their next performance. Neon Burning was released in May 2024 and didn’t get the attention it deserved until I received the single of Satellite otherwise the album would have featured high up in my top twenty albums of 2024. Yes, it’s that good. If you want an album that stops you questioning about which genre of music it fits into and has the prowess to captivate you from a melodic and musical capability point of view, look no further than, dare I say it? This banger of an album. There is great music Living in the shadows. Need I say More?
