Scotland’s Close Lobsters never quite fit in with any scene. Sure, they were on the C-86 compilation put out by the New Musical Express, and they recorded their records at indiepop central Leamington Spa with John A. Rivers. I suppose all of those references might give you an idea of what they might sound like. Their guitars certainly jangle and they sound earnest, but I would never suggest that they’re indiepop or C-86 (whatever that is). Their records have an uplifting brightness to them and dare I say it they even rock out a bit. That juxtaposition sets them apart in my mind.
The band stopped being a band back in the late 80’s after the release of their second LP Headache Rhetoric. Fast forward 20 or so years, sometime after appearing at 2013’s New York City Popfest the band decided to start making records again. Eventually two 7-inch singles containing new songs appeared, one in 2014 and another in 2016. Now finally, a third album was released in February. The title is a mouthful, Post Neo Anti: Arte Povera In the Forest of Symbols. The cover might give the impression that they’re a metal band and the title suggests that they’re into prog rock. Neither is the case. In fact, the album picks up right where Headache Rhetoric left off. Songs like All Compasses Go Wild, Now Time, and New York City In Space sound like older and wiser brothers of classics like My days are Numbered, Nature Thing, and Foxheads. The band have John Rivers back in the producer’s chair and the album generally feels like they never broke up. I always thought that The Close Lobsters sounded timeless because they never really adhered to any scene or sound. They continue that streak and stick to their unique sunshine drenched jangle while stretching and bending it ever so slightly to keep it interesting.