The song feels like a steady, constant unraveling, verse and chorus blending together as a person lets themselves go into the currents of the past. It continues the grey sky atmospherics of their debut, but clears away some of the murk, sharpening the songwriting without losing flashes of experimental textures. The first is a loping and haggard Beatles impression, complete with sharp exclamations of distorted guitar and guttural brass.
So far, so good, but nothing too different for Elbow. Then the final stanza upends much of the preceding song, with Garvey describing a sense of tranquility, of harmony, lying next to his partner at home. A new, once more wide-eyed vision of the horizon. The song piles on idea after idea, Garvey delivering the same lyrics over and over as if a koan in the growing storm.
That storm, though, is a welcome one. Yet, this was one of their signature songs then, and remains so now. From the sinuous-yet-grinding guitar, into that middle passage fueled by that oscillating synth sound, to the technicolor sunrise release of its ending. Elbow often excel at illustrating the small beauties of the world around us. But this time, they created their own landscape. Fleet-footed acoustic arpeggios, an airy organ drone, piano interjections at the right points, and flickering, brushed drums.
All those whiskeys and smokes, spent looking inside and backwards and piecing it together. It is an avalanche of uncut joy, spilling out into that endless refrain.
That the world outside feels as vibrant and unexpected as when you were young. This is the other side of what Elbow does, and perhaps the single thing they do best: They remind you that the possibility of actual wonder is out there, and then they make a song that sounds just like that possibility.
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