After a three-year wait, Bombay Bicycle Club has finally perfected and released its fourth album, So Long, See You Tomorrow. It features a continuation and evolution of the sophisticated-yet-playful pop sound of the 2011 album A Different Kind of Fix, an amalgamation of the hard-hitting, simplistic indie vibes of I Had the Blues But I Shook Them Loose (2009), and the stripped-down, acoustic sophomore album, Flaws (2010). The band’s distinctive sound remains the essential backbone, but with meatier highs (notably in “Overdone,” “Eyes Off You,” and “Come To”) that will no doubt reach the backs of their stadium shows.
Also showcased are frontman Jack Steadman’s impressive and distinctive production chops, influenced by his contemporaries in British electronica like Blood Orange, and Indian musical themes deriving from Steadman’s experiences songwriting in India (as well as Tokyo, Holland, and Turkey) away from the rest of the band. The result is an instantly recognizable but more mature sound that mixes current electronic trends with non-Western instrumentations and musical forms, all with an atmospheric, ’70s-esque sense of sonic exploration.
Bombay Bicycle Club has once again demonstrated its expertise in structuring an album that not only takes you on a journey, but also makes you third party to a story. So Long, See You Tomorrow tracks the ups and downs of a relationship, beginning with a difficult break up in “Overdone” and ending with the title track “So Long, See You Tomorrow,” the happy conclusion revealing that the two will remain in each other’s lives. This cycle is mimicked in the album artwork of a spinning animation of a sun rising and setting endlessly, inspired by the frame-by-frame photography of Eadweard Muybridge.
The hint of tabla on “Overdone” is a preview of more Indian influence to come. The main guitar riff is reminiscent of Pink Floyd, offering a sense of exploration while remaining glued to the incessant, grooving beat. Lucy Rose, who took a nearly-official part as member of the band for their previous release, sings a careening harmony in the chorus. Steadman’s characteristically playful rearrangement of mainstream pop beat patterns makes the hook instantly familiar. As implied by the title, this song expresses frustration with a failing relationship, with Steadman asking, “Tell me was it enough when we were first in love to plant the seed then just leave.”
After the crash-heavy climax of “Overdone,” “It’s Alright Now” pulls listeners back, reflecting on the past wrongdoings that led to the breakup of the opening track. Lucy Rose now takes on a leading part of the melody, building parallel thirds with Jack’s harmony and making a strong link to older songs such as “Lights Out Words Gone” and “Flaws.”
The album’s pulsing single, “Carry Me,” is next. Steadman’s use of triplets in his electronic bass tones is instantly intriguing and creates a modern feel. A reverb-heavy guitar in concert with a blend of horns opens up an atmospheric sense of space, leading to another mountainous climax which marks the return of emotional connectedness. For this single, which was released at the end of 2013, the band experimented with an interactive music video. While watching you use your mouse to scroll through multiple angles of the subjects, allowing an element of first-person viewership.
The album once again slows down with the next track, “Home By Now,” which pairs familiar vocals with the best showcase so far of Steadman’s producing chops. There is a sense of distance between the lovers, as Steadman implores, “If you won’t spill your heart, I’ll chase you for the words you owe.” The electronic vibe continues in the more upbeat “Whenever, Wherever.” This is the clearest example in this album of the confluence of Steadman’s club influence and the band’s history of catchy pop writing.
“Luna” kicks off side B with the return of the tabla. The song swells into a tandem cry of “I’m ready for you to find out,” marking the rejuvenation of the young, excited love for which Steadman has been reaching. “Eyes Off You,” in striking contrast to the elation of Luna, begins with the stark sound of just voice and piano. Just when the song appears to be approaching a defeated close, a low electronic beat fades in, followed by crashing cymbals and a grungy distorted bass line. It finally fades into somber amorousness as the relationship is once again threatened.
“Feel” seems to be the song most heavily influenced by Steadman’s stay in India, with a bridge of powerful parallel thirds and a bouncing bass line. With “just one feeling,” the love has returned, and it hangs around for the next song, “Come To.” Steadman evokes the ’90s with his use of a flange pedal (think “Slide” by the Goo Goo Dolls) while proclaiming “I have some faith in us,” helping the relationship to “come to” out of unconsciousness.
Closing out the album is the epic “So Long, See You Tomorrow.” Beginning with slower, more thoughtful exploration, the tempo eventually picks up into a rolling, airy club hit with sampling and a ricocheting synth melody, an unhindered celebration of love. The message of the album is finally unveiled here: in relationships, all you need to look for is someone who, through ups and downs, you couldn’t imagine seeing every day.
Once again, the masterful Bombay Bicycle Club delivers a well-balanced album with a new layer to discover with each listen. The introduction of more of Steadman’s producing into the band’s already established sound carries this album into a genre all its own.