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Although Sean Lennon and Charlotte Kemp have been making music together since 2008 - already releasing a couple of very cool tunes, including the Mark Ronson-produced 'Jardin du Luxembourg' - it wasn't until I first heard one of Midnight Sun's singles, 'Animals', that my mind suddenly clicked and I felt ashamed I hadn't given Lennon's youngest son half a chance before.

A cohesive, impressive work is what you can expect from Sean Lennon's and his girlfriend Charlotte Kemp's most recent full length as The Ghost of a Saber Tooth Tiger - out via the band's own label Chimera Records later this month. As much déjà vu as a Lennon cutting a record with his girlfriend may sound, believe me this is not history repeating itself; actually, weird-sounding 'Poor Paul Getty' is one of the few tracks that, with a little extrapolation, could have been written by Sean's father - and I'll immediately stop my analogies here, especially as I feel Sean's musical work has very little connection to John Lennon's (either with the Beatles or solo).

Not overly impressed by the album's opener, 'Too Deep', I fell in love with 'Xanadu' at first sight - because as beautiful as both their voices may be, I prefer them singing solo. 'Johannesburg' is a perfect example of how Charlotte's vocals mix a mid-noughties Kylie Minogue with a certain French je-ne-sais-quoi, usually found on semi-gamine chanteuses like Vanessa Paradis (also, kudos for the track's Jacco Gardneresque intro). And I can't explain why, but the album's title-track reminds me of '90s Beck if Odelay had been fuelled by mescaline.

Mid-album track 'Last Call' goes a bit prog with its ending, lasting longer than most of the other tracks on the album (except for the grand finale 'Moth to a Flame'), and with a vibe that is much more "airy" that "spacey". It seems to fill a different void - a post-psychedelic Pink-Floyd-sans-Barrett one, relying on multi-instrumental physical expansion. The fact is, although the basis of Midnight Sun is essentially psych-oriented at its core, there's a much more futuresque glow within it, mixing folk chansons with experimental instruments and techniques - which is obviously harder to emulate on stage but much more interesting on record.

'Great Expectations' is one of the most perfect examples of how Sean and Charlotte's way of approaching a song is by picking an apparent common chord progression and suddenly interrupting it with a dramatic change, usually changing an obvious minor sequence with a sudden major incursion. But Midnight Sun's chef d'oeuvre is undoubtedly 'Moth to a Flame', which begins with an ethereal melody that brings back - I'm so sorry but I had to say this - The Beatles' 'Because', and shows how touring with The Flaming Lips and Tame Impala has influenced them. Experimental ma non troppo, 'Moth to a Flame' has us travelling through space and time and provides an excellent closure to the album.

Midnight Sun is a very interesting record, and shows the duo expanding their horizons without forgetting about the importance of their melodic roots. This means that if The GOASTT's next album is in any way this beautiful, I'll gladly give it a listen. Or twenty.

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