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The Future Cannot Be Born Yet, It Is Waiting For The Past To Die

The Future Cannot Be Born Yet, It Is Waiting For The Past To Die

King Capisce made their debut in 2008 in a crowded tent at Peace In The Park. I remember their set well. It was noisy, untamed and relentlessly inventive. They used a classic four-piece jazz line-up - saxophone (of which there are now two), guitar, bass and drums - to create a multifaceted sound. I was cautiously impressed. It was messy and a bit reckless, but they were refreshingly different. I’m frequently reminded of how I loudly pronounced my judgement on them: “Give them six months,” I said, “and they’ll be a great band”.

Six years have gone by since then, during which they have indeed become great. They’ve perfected an exhilarating live show, released an incredible debut album and defeated any suggestion that they were anything other than the best band in Sheffield. But it is only now that they have finally come of age. This is not a reboot of the band, but nor is it more of the same. Like the difference between an opinionated sixth former and a learned academic, it knows it doesn’t need to hurry to win you over.

I revisited their debut album after I’d listened to the new material a few times. Though I still love it, it suddenly feels sharper and spikier than it used to. This new record is every bit as provocative, meaningful and idiosyncratic as its predecessor. All the big riffs and powerful moments are still present, but are given space to develop. There’s more texture, ideas build and grow organically and one theme leads gracefully into the next. I try not to use big words lightly, but these tracks are absorbing, powerful, distinctive and beautiful. This is a masterpiece.