You’re Despicable (best pronounced with a suitable Daffy Duck lisp!) is a refreshingly vibrant, melodic and song-orientated collection of progressive pop songs, from David Knowles and Colin McKay. These seasoned Liverpool-based musicians and songwriters reunited back in 2015 under The Swan Chorus name but can trace their roots back to the late 70s and a short-lived band called Achilles.
With the vocal support of John Wilkinson from the Genesis tribute band Mama, they released a highly enjoyable, titular debut album, The Swan Chorus, in 2018. The lockdown-delayed follow up, Achilles And The Difference Engine, from 2023, saw Colin even more involved instrumentally with David, and sharing vocal duties with John, and included many re-worked songs from the Achilles era. The album maintained the prog-pop of 80s Phil Collins-led Genesis as well as the likes of It Bites, I Am The Manic Whale and Spock’s Beard, with mostly shorter, punchy tracks full of melodic life and sparkle, and quirky lyrics full of socio-political observations and dark satire. The result was progressive music with an accessible, crossover appeal, which was a refreshing breath of fresh air.
You’re Despicable continues the band’s signature style, although on this album Colin covers all the vocals in John’s temporary absence. John has been very busy with a number of other projects, not least his excellent solo release from late last year Imposter Syndrome, involvement in Ellesmere’s Stranger Skies and the Random Option album. Whilst I have to admit that I do miss John’s distinctive, Phil Collins-like vocals on this album, I need to praise the melodic quality of Colin’s vocal performances – as he showed on the last one.
Although there is no extended prog epic this time around, the 14 short to medium-length songs provide quite a diversity of musical style and lyrical content. Although not a concept album in the usual narrative-driven sense, they are loosely linked thematically, with the lyrics looking at characters or real people who Colin and David consider ‘despicable’ in their actions or views. Colin’s extended time spent in the USA, and both their interest in current affairs and the political and sociological world, certainly gives them plenty of material for their acerbic observations and dry wit, to accompany their lovely musical interplay – which can be simply structured one minute and then full of instrumental complexity the next. They are not afraid to cross genres and even askew prog rock for straight-ahead, commercial pop when it suits the song.
The album starts energetically, with The Upside of Down. Chiming instrumentation is joined by a swaggering and driving bass and drum rhythm and lush keyboards. A song about the existential nightmare of living on the internet and the death of privacy, the lyrics steadily draw you into the track.
Is up there to read on the feed of every well-connected creep.”
A thoughtful midway lull in tempo, is followed by a final flourish, and the template is set for the biting, socio-political prog-pop to follow.
A rich organ flourish takes us into an evangelical church congregation for Got Religion. Hallelujah! Over an urgent instrumental backing, Colin takes a satirical swipe of the monetarisation of religion and fame (like a busier version of Jesus, He Knows Me by Genesis). There is an appealing looseness to the guitar and keyboards, and there’s even time for a pointed dig at Russell Brand towards the end.
And those damn lawyer bills are outta hand.
But every shameless grifter out there’s killing it
So go and hustle Rustle, monetize your Brand.”
Colin’s time in the USA is highlighted as we settle down for an Estus Pinkle Night. Quirky piano and guitar introduce another swipe at religion, American style! Estus was a hellfire preacher who produced a series of Christian splatter movies in the 70s, warning about the evils of the godless commies and goddam liberals. The vocals transport us to a seedy late-night viewing of these exploitative movies. Musically, there is a real I Am the Manic Whale-vibe to this track, and it undulates in style and tempo refreshingly, with David delivering some very nice keyboard motifs.
It’s Not the End of the World leaves the satire temporarily and delivers an intriguing slab of synth-led prog rock, as we enter the world of miserable teenage angst, followed by some insistent guitar riffing and distorted vocals and then some galloping, rhythmic ensemble play. There is a mischievously inventive interplay between the lyrics and the instrumentation as Colin and David flex their muscles. One of the undoubted highlights of the album.
Air-raid sirens and dreamy, sci-fi musical patterns introduce us to an unashamedly cutting diatribe against the world of Donald Trump and his associated right-wing Republicans, with the busy, instrumental chaos of Space Force. You might not get every political reference on this side of the pond, but the satirical bite is clear to see.
Protect our space.
And if the man in the White House needs a little help
Call Space Force to save the chosen race.”
Little Fools takes us back to the UK and the isolating effect of Brexit and those who promoted it. David’s musical piano and synths paint a more contemplative ambience, helped by some ethereal female backing vocals, but even as the tempo rises, there is a reflective feel to the vocals and an accessible, commercial and flowing sheen to this song.
Things get more personal and confessional with You’ll Never Get To Boston, as Colin reflects on how he damaged and sacrificed his marriage on the altar of creativity (real or imagined) – as viewed by his blameless ex-wife. After the waltz-like beginning, there is a restrained, swaying musical flow and a wonderfully catchy chorus, with effective backing vocals added to the mix, along with some fresh instrumental solo excursions.
World in Action and Watching both focus on the importance of monitoring current affairs, seeking responsible news coverage from respected and experienced figures, and embracing independent thinking rather than that handled down from the internet keyboard warriors. The former strolls along nicely in an 80s power pop way, with a hint of a Far East percussive rhythm in the background. The latter has a more exuberant prog-pop feel as it, with David delivering some telling later-era Tony Banks-like keyboard flourishes and ripples in the style of Keep It Dark, as Colin’s bass and guitar lines strut their stuff.
Taking its title from a William Blake painting, The Dragon Who Swallowed The Sun takes a personal look at bipolar disorder. Colin plays some retro, resonating, electric guitar patterns to start and is soon joined by David’s cinematic keyboards. There is an off kilter feel throughout that matches the song’s atmosphere and lyrical content.
You said jump and we jumped and put both hands in the fire
Today I’m a miserable son of a gun
Tomorrow I will dance with the dragon who swallowed the sun.”
We’ve already met a number of ‘despicable’ characters so far, and the lyrical diversity continues with The Devil in ABQ, as we enter the TV world of Better Call Saul and the shady character of Jimmy McGill in Albuquerque, New Mexico. Musically, there is a sleepy, southern country rock ambience delivered by steel guitar and harmonica, over a funky bass with touches of brass sounds and accompanying backing vocals. It’s another concise but very approachable song fashioned by the duo, and it is pleasing to note that no ‘hot dogs’ or ‘jumping frogs’ were harmed in the making of the song too!
Colin and David describe Open Minded as a sort of homage to the earlier albums of Peter Gabriel. Again, there is a twisting funkiness to the song, as we decide if our protagonist is ‘open minded’ or merely ‘empty headed.’ It is rhythmically appealing, and I’d have liked to have seen it developed into a longer piece – rather than fade out. However, Blame On You, is a refreshing taste of light and bouncy electronic pop of exactly the right duration, that will have you bopping, twisting and dancing despite yourself!
In many ways it’s a perfect palette cleanser before the album’s closer, What The Butler Saw. The song is about the idea of someone making it their business to know what’s going on around them – in this case a butler who knows everything that’s going on in the household he works in, by peering through keyholes, listening to conversations etc. There is a darker, sinister, synth-pop tone to the music, with hypnotic, repeating motifs and some vibrant soloing on guitar and keyboards as it slithers instrumentally, alongside another catchy chorus of “Who can tell me what the butler saw.”
So, there you have it. You’re Despicable has 14 enjoyable, self-contained, melodic and accessible prog-pop songs which are both contemporary, and yet comfortably retro and often instrumentally grounded in shiny 80s-style production. Although lyrically they are all thematically linked to characters who are ‘despicable’ in a variety of ways – with a biting satirical and socio-political edge throughout – there is a dry wit and approachable black humour scattered amongst the tracks as well. Musically, David and Colin combine wonderfully and mix compositional simplicity with proggy flights of fancy – yet they resist extended soloing to maintain the integrity of the songs. Unlike the many conceptual progressive albums I have reviewed in the past, these tracks can be savoured individually, rather than necessarily all listened to, in order, in one sitting. In that way, their refreshing effervescence, commerciality and sparkle can be fully appreciated. I, for one, am pleased that David and Colin’s musical synergy and pop and prog rock sensibilities from decades earlier are still alive and kicking in The Swan Chorus. Who says progressive rock always needs to be full of lengthy and serious compositions brimming in instrumental virtuosity and deep lyrical meaning? Sometimes it’s good to ‘take a walk on the light side!’
TRACK LISTING
01. The Upside Of Down (4:06)
02. Got Religion (4:12)
03. Estus Pirkle Night (5:55)
04. It’s Not the End Of The World (7:28)
05. Space Force (4:49)
06. Little Fools (6:01)
07. You’ll Never Get To Boston (5:58)
08. World In Action (4:39)
09. Watching (5:49)
10. The Dragon Who Swallowed The Sun (4:08)
11. The Devil In ABQ (4:31)
12. Open Minded (4:09)
13. Blame On You (3:05)
14. What The Butler Saw (6:57)
Total Time – 71:47
MUSICIANS
David Knowles – All Instruments
Colin McKay – All Instruments, Lead & Backing Vocals
~ With:
Logan Jones, Solaria, Kevin, Natalie, Saros – Backing Vocals
ADDITIONAL INFO
Record Label: Independent
Country of Origin: UK
Date of Release: 26th February 2025
