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Fra Lippo Lippi: Golden Slumbers - The Very Best Of

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1LP. Coloured Vinyl This Autumn sees the release of Gavin Friday’s much-awaited new album, Ecce Homo, his first in over thirteen years, and via BMG. It is a work that heralds a fuller, more sonorous, form of expression for this ever-evolving artist, one that transcends the prescribed conventions of genre, breaks new ground and brooks no compromise. Where loss, filial grief, remorse and existential disquiet were the more conspicuous tenets of Friday’s 2011 release, catholic, the presiding spirit of Ecce Homo is altogether freer, less shackled, and sovereign — indomitable, too. Selftyranny and its capitulations have here been sublimated into strength and enduring triumph. The credo is that of a man beheld, yes, but never beholden. There is throughout Ecce Homo the same synth-powered pulse and pump one has come to expect from this fiercely impassioned iconoclast — glam rock’s platform stomp in perfect sync with post-punk’s oxblood heart — and yet its medleyed parts resound as if new-minted: proud, valourous, regenerate. Here, torch songs catch in a blaze of beauty, so too the embered days of youth. Friday’s talismanic touchstones are ringingly manifest on Ecce Homo, among them Brel, Ginsberg, Grosz and Callas, their galvanic charge persisting like a ghost voltage in what is a new and wholly inimitable register of Electronica. Suffused, as many of the songs are, with soaring orchestration, there is nonetheless a stark, near-Brutalist tonality to the record — industrial, even. A sensory (and sensuous) Berghain, if you will, Ecce Homo is richly redolent of the Weimar years, of discord and dance — of decadence! — and is stamped throughout with the hallmarks of Friday’s glittering art: the salt of sex, the heart’s burlesque. Recorded in Dublin and London, Ecce Homo is produced by Dave Ball (of Soft Cell), Michael Heffernan and Riccardo Mulhall. Featuring the singles ‘Ecce Homo’ and ‘The Church of Love’, the album will be available as a Limited Edition 1LP Colour

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