The band carries on after the amicable departure of vocalist/multi-instrumentalist Shane de Leon, and sounds strong and focused in its new, stripped-down quartet configuration.
Rollerball is in fine form here, bringing another of their distinctive melanges of rock, jazz, dub, soul, noise, and lounge music, with a bit of sonic manipulaton in the mix for added interest. Mae’s keyboards are the main push behind most of the songs, and her singing is typically great, especially that knack she has for leaning on a note that produces just the right amount of tension against the music. Amanda’s sax often sounded sneaky in the past, which was cool in a way, but now I’m hearing it as a bigger part of the sound and that’s a good thing. Monte (bass) and Gilles (drums) are a flat-out solid rhythm section as well as a creative one, and they are one of the band’s greatest strengths.
As usual, Rollerball keeps up a loose kind of tightness throughout, making their artful, intelligent music very appealing.