Release Date: 03/11/08 Label: Comuse Myspace: www.myspace.com/weareglobo

For those who recognise the title This Nation’s Saving Grace will realise it is the same title as the acclaimed album by The Fall. Five Indie cool points to you for noticing. This is no coincidence, as Globo have taken it on themselves to recreate the 1985 album, track for track, without wanting to become a ‘Fall tribute band’. Globo describe themselves as a ‘Creative entity’ and the album as an ‘experiment’, and as thus are not actually a conventional band; Globo consisting of a painter, an illustrator and a writer. So ‘What’s the point of this?’ I hear you ask. And also ‘Get on with it! I hear you yell. For detailed reasons head over to www.globo.org.uk. One main reason given for the ‘experiment’ is the reaction and debate to the project. So let it commence.

I’ll admit, whilst of course I am familiar with the legend of squirrel murderer Mark E Smith, I had never listened to The Fall properly, a (shameful?) gap in my musical knowledge. So I set about thoroughly integrating myself with The Fall LP. Which I rather loved.

There, quickest review ever. Onto Globo’s… The tracks are all in an Electronica style, a large jump from The Fall’s raw driven guitar sound. Different guest vocalists appear in many songs in an attempt to interpret songs in a unique way to suit the specific song. This works particularly well in What You Need, a female vocalist screeching passionately ‘What You Need’ over and over again with similar gusto to that of Mark E Smith.

The writing style of Mark E Smith lends itself well to Electronica and dance, in the frequent use of repetition in lyrics, and often in melodies also. This is very apparent in LA, arguably the stand out track of the album, and interpreted into an almost Friendly Fires-esque synth-driven upbeat sound (catchy genre name, ay?). Barmy lends itself to the sound of a well-mixed Lemon Jelly track, though the monotone vocal can grate. Which going back to The Fall again (It’s hard not to really), lacks Mark E Smith’s enthusiasm in comparison, I am Damo Suzuki suffering from a similar fate. My New House is interpreted pleasantly in a slightly funked down-beat fashion. Spoilt Victorian Child wonders majestically through many parts from double-time drums to chill-out.

So where does this lead us? Will a remake of past albums become the norm thing to do as it is in the film world? Will we see Kate Nash recording a rework of Pink Floyd’s Dark Side of the Moon? Black Eyed Peas doing Sergeant Pepper? Even if you’re not familiar with The Fall, it remains a decent listen and stands up in its own right. But of course many will be listening with The Fall in mind. Now I’d imagine some Fall fans would scream “Sacrilege!” and such other words with exclamation points, which is fair enough. I’d love to know what Mr. Smith thought. But for those that go in with an open mind will be pleasantly surprised, some tracks work very well and a joy to listen to, though a few are lost in translation and lacking. The tracks are of a similar vein and sound, but have variation in them too. As the great John Peel once said of The Fall: “They are always different; they are always the same.”