Illustration: James Boast (www.jamesboast.com)

We at The 405 are a perceptive bunch. So when, at just 46 seconds into Noel Gallagher’s High Flying Birds debut single ‘The Death Of You And Me’, the eldest of the now infamously estranged Gallagher siblings sings ‘sunshine’, it didn’t just pass us by. 

This is of course because, since time immemorial, an Oasis song just hasn’t been an Oasis song without a whiney great ‘sunshiiiiiiiiiiiiiiiine’ coming out of Liam Gallagher’s gob.  

This troubled us. Surely, as a bona fide artist with integrity, Noel would want to distance his solo project as much as possible from the Britpop days of yore. 

To get to the bottom of this we must look at the evidence, going back to the fall out itself. The altercation that started the whole feud allegedly occurred just before the band were due to perform at the Rock en Seine festival in Paris in August 09. “But aha!," some of the more Poirot-minded of you might say. Surely, that cannot be true, for if there was one country on earth that the Mancunians and their Anglo-Saxon pop would not fall on receptive ears, it must be France. Have you ever met a French Oasis fan? No, neither have we. 

To quote Sherlock Holmes, “when you have eliminated the impossible, whatever remains, however improbable, must be the truth.” It certainly doesn’t seem impossible that the lads could have created a fake gig only for the purpose of cancelling it. If they have the money to do that drug fuelled third album, they’d surely have the financial muscle to back such a plan.  

The timing is also significant. ‘The Death Of You And Me’ and it’s Americana video, complete with a disenchanted, pretty waitress and (naturally) a stagecoach, premiered on the internet the other week, which is a funny coincidence, because that was also around the same time that Noel broke his silence on the sibling war. What better way to promote his High Flying Birds than with a front page on every music weekly calling his brother a twat. 

Tellingly, similar accusations can be levelled at Beady Eye. Liam was on top quote dispensing form in the run up to Different Gear, Still Speeding’s release, waxing lyrical about the break-up and just about everything else.

Yes, Beady Eye’s own debut single ‘Bring the Light’ from last November was led by piano chords, which in terms of deviation from the Oasis blueprint may as well be a seven minute jazz fusion freak-out. But then, Noel’s new track features a brass band, which is pretty extravagant, and the last record Oasis made before their official demise was damn near psychedelic, so it’s clear that while they can’t lose the ‘sunshiiiiine’’s, they are comfortable with a little experimentation. On the whole, Different Gear, feels like business as usual for Liam, with the mod stylings turned up and the Lennon influences turned down, slightly.

In fact, perhaps this minimal change is the key to understanding why the Gallagher’s would do such a thing. Maybe the brothers had grown of writing samey songs for samey albums to samey critical response, but also realised that the parka lads fan base would never allow the pure blood of Oasis the be cross-bred with progression. 

This realisation would lead them to the only possible conclusion, that the sacred cow Oasis must be sacrificed. Only under the guise of their solo projects could they attempt to push forward. Of course they could only do it gradually, which is why to the untrained ear Beady Eye and Noel Gallagher’s High Flying Birds still sound very fucking similar to the tunes of yesteryear. Step by step they would be able to keep covertly releasing new Oasis material, easing their loyal listeners into new sounds, and when the time was right, reform Oasis officially, releasing a critically acclaimed album loved by their fans too. Elementary, my dear Watson. 

So, Liam and Noel, when you come out and tell the world you’ve scribbled each other back on your Christmas card lists and put out a proper Oasis record, we won’t be buying it. Literally. It’ll probably be still boring pub rock anyway.