It’s not often I disagree with a Punktastic reviewer, but when it came to our review of ‘Interventions and Lullabies’, I had to take massive exception. Described at the time (not by me I hasten to add) as ‘a complete and utter disappointment’, it was a review which I felt completely missed the point. A heartfelt yet fun record, The Format had a kitsch, quirky pop edge which set them apart from many of the bands around at the time. I mean ‘The First Single’ was a foot-stomping pop anthem and ‘Tie The Rope’ a really sad suicidal tearjearker.
That was 2003 and while the album was brilliant, the label seemingly disagreed. There was no promotional push, no video, no radio play and the band and label’s parting was something of a predictable mess. Yet while other majors sniffed around to pick up album number two, the band had other ideas, launched their own label Vanity, hooked up with Nettwerk management, got a distro deal through Sony/BMG and can now make all their decisions. Decisions which ultimately have sold 13,000 copies of this record in its first week.
‘Dog Problems’ is an album that’s steeped in rock and roll history. It sounds like Harry Nillson at times. It sounds a bit like The Beatles in others. ELO and XTC are quoted as influences. This is not your average ’emo’ record. There are songs about the music industry, others about girls (well it is The Format after all…) Above all, it’s brilliant in a way you probably wouldn’t expect it to be. It’s a massive grower for starters – if you want the instant sugar rush of ‘The First Single’ again, then the opening track on ‘Dog Problems’, ‘Matches’, will be a shock to the system. A slow burner, it’s catchy in a non modern-day-pop kinda way. But it’s the perfect start to a record that will grab your attention in a way you just wouldn’t expect.
‘Time Bomb’, ‘She Doesn’t Get It’ and ‘Pick Me Up’ are an almost unbeatable triple salvo in the record’s middle. Three completely different tracks – be it in tempo or in style – but three that sit next to each other in such a great way. To be fair, I could go through each and every song and pick out the high points, but that would simply take too long. The Beach Boys-esque harmonies that litter this album are one of the standouts for me – ‘Dog Problems’ has a real retro feel. It’s a CD that, I imagine, would sound incredible on vinyl.
Format fans have always drooled over the lyrics and this record is no different. ‘The Compromise’ takes a stab at the major labels – the immortal line “Step one: find a partner, grab a pen, And don’t you dare ask questions, Just sign on the dotted line, Step two: your partner behind a desk, Will then do absolutley nothing, So it’s your job to dance and smile the whole time” sounds absolutely brilliant when singing along, yet takes on a whole new meaning when you’re carefully reading the liner notes.
And anyway, ‘I can feel your feet touchin’ mine, if you can’t dance, there’s someone else in line’ perfectly sums up musical trends, does it not?
There’s so much to write about this record – the band’s brave decision to go it alone and the fact they’re using the internet to re-write the promotional rulebook. Yet wrapped up in all the drama and intrigue is a record that’s nigh on perfect. It’s certainly not ‘Interventions…’ part two. It’s definitely not an album you will ‘get’ first time you listen. But persevere and you’ll come across one of the best records of the year.
The album’s title track maybe sums up this record best:
“Can you hear me?
Are you listening?
This is the sound of my heart breaking
And I hope it’s entertaining
Cause for me it’s a bitch.”
The Formnat need to know their pain was worth the agony. Buy this record, it’s brilliant.