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These New Puritans: Hidden Track-by-Track & Exclusive Photos
Kev Kharas , January 11th, 2010 04:13

Kev Kharas dissects These New Puritans' second album Hidden track by track, and we present an exclusive picture gallery of hot young naked men by Lucy Johnston.

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These New Puritans are a band that thrive on being misunderstood. Their 2008 debut Beat Pyramid was an album that claimed influence from, among other things, 16th century numerology, the apocalypse as ultimate artistic event, water, mirrors, magick realism, Russell Hoban's Riddley Walker and circles. Pretentious? It didn't matter. What did was that, whether in horror or delight, people tended to recoil at how that ambition jarred against a moment whose groups seemed content to huff the exhaust fumes belched by a classicist rock motorcade with The Beatles at its crown and Oasis at its rear. While Beat Pyramid did draw from that modernist procession of guitar music - from the taut post-punk of The Fall and Wire, most obviously - it seemed to do so with ruinous eyes; Gavrilo Princip, dropped sandwich at boot heel, drawing a gun at Franz Ferdinand's stalled car.

Talking recently, band leader and barker/magus Jack Barnett explained how much of imminent follow-up Hidden was written 'blind' ('deaf'?).

“For some of the songs I collaborated with an arranger called Ryan Lott (aka Son Lux. We worked incredible hours to get it perfect; it was weird spending such a long time imagining this music but never being able to hear it and suddenly there's [13 classical wind musicians from the Czech Republic] sight-reading it and just blasting it out.”

It's apt that Barnett should choose to work this way – not with Czech wind musicians, but in a way that, to a large extent, is imaginary. The sounds you'll hear on Hidden remain eminently physical – the taut guitars of its predecessor may have been jettisoned, but beats are brought to the fore to blast in gaps left by wind woven, now, from imagination into something real. On Hidden TNPs remain gut attackers – they're visceral, anxious, of sinew and stabby – but their real power lies in the contrast between that robust physicality and the questions Barnett's refrains and the band's imagery ask of the imagination. Most listeners won't be au fait with English Renaissance composers or 16th century astrologist John Dee, but in that gap between Barnett's knowledge and yours lies TNPs' power – the power to open huge blanknesses in the mind for the ignorant and interested to swim in; blanknesses that hold, in the ambiguity of misunderstanding, the potential for myriad truth and endless discovery. It's an obnoxious way to go about things, when you think about it, but These New Puritans do so unashamedly. It makes you realise that empathy and consensus don't have to and shouldn't be music's ultimate aim.

This record can be whatever you want it to be - here's a nuts and bolts run-through of Hidden's eleven tracks.

Time Xone

In typically evasive fashion, the album's opener is formed entirely of wind, 'Time Xone' a gaseous introduction that manages to sound familiar and strange, curious and scared, anxious and calm, maudlin and sated (often simultaneously). Its textures remind me of moments from Arthur Russell's First Thought Best Thought collection, though that probably says more about my own ignorance of orchestral music than the motives of its makers.

We Want War

If the introduction was fairly sedate, what's next blows its quiet apart. 'We Want War' was chosen as this album's lead single for a reason – declarative, belligerent and with an odd sex, at times the track's watching Timbaland belly-dance, at others it's taking shelter from bombs in a church. Again, this is ignorance on my part – I use 'church' because there's choral singing, and it's the mystic gateway that most obviously springs to mind. I say it in the same way I might speculate that the supermarket probably sells rattraps.

Three – Thousand

Another beat-led track, similar in its strut to 'We Want War', if more low-slung. Jack Barnett's voice is softer and rapped, blanketing rider drums hammered 'pon by twin George, while Sophie Sleigh-Johnson adds synth dazzle and Thomas Hein a sleazy bass nark. You'll feel this one in your gut like Salem - 'Three Thousand' sounds sleep-deprived and delirious. It's fucking great.


Calming the pace, 'Hologram' is an obtuse pop song built from horn parp, mysterious plucked string, functional drumming and a vocal from Barnett that swaps dismissive swipes for an atypical longing (“shut the door, because I'm staying here/the world might disappear, under blankets of snow”). It's fast becoming obvious that Hidden is an album that'll reward headphones and a loyal attention span.

Attack Music

The title doesn't lie: we're bound to the war beat again. Barnett's vocal echoes in ways you might remember from Beat Pyramid and there are backing vocals from either Sleigh-Johnson or a children's choir. I think it's the latter. Bass booms like totems slung in ground and there's the sound of drawn-swords. Jack has talked before about his desire to cross-reference sounds and themes across songs and albums, and in this sense you could consider 'Attack Music' twinned with 'We Want War'.

Fire – Power

Another expertly-assembled war song, this time echoing the previously available 'FFF'. Hidden is turning out to be a lot more combative than its opening gambit suggested.


Again recalling TNPs' previous work, 'Orion' begins with drums that clatter 'n pound like they did on Beat Pyramid's 'Numerology (What's Your Favourite Number)'. From there it goes airborne on the warm draughts of choral chants. What does that mean? It means synths. Synths and backing vocals provided by a cast of extras corralled from the set of 'The Ten Commandments' and the ghosts of their beloveds. As the fire of this one gradually tires into embers, and the singing children return in chains, you wonder if this mightn't be an outro for the record's aggressive middle-section.


The pining, forlorn wind arrangements of 'Canticle' would suggest the aggression's over for now.

Drum Courts – Where Corals Lie

No – this is gonna be rough as fuck by the sounds of things. Drums pound harder and faster than they have before, underpinned by synths that fart like a car. Jack's back, muttering a hushed commentary on something or other that bears some resemblance to this poem by Richard Garnett. Many of its lines are sung – “Thy lips are like a sunset glow / Thy smile is like a morning sky / Yet leave me, leave me, let me go / And see the land where corals lie / The land, the land, where corals lie.”

White Chords

Jack's got white chords running through his body, apparently. This is a track that welds the two moods that have marked this album so far; downbeat and bloodthirsty, rhythm-driven and choral-pocked. “X marks the spot or sometimes means no,” complains Jack, in typically ambiguous style.


When talking about this album around the release of the last record, Jack described its sound as pitched somewhere between dancehall and Steve Reich. If we've had the dancehall – through 'We Want War', 'Fire Power', 'Attack Music' and their ill-tempered ilk – then here's the fragile, glassy minimalism. If most of Hidden rejoices in its own, gnarled ugliness, '5' finds These New Puritans beautiful and relatively exposed. As wind instruments charge their reeds and timid percussion tinkles, Barnett's voice appears briefly to offer what sounds like, if not an apology, then something of a confessional. Unfortunately it's buried too deep in the mix, beneath bassoon and that children's choir, to make out – unfortunately? I for one am quite glad These New Puritans are still fucking with us.

Until the sound of Jack Barnett weeping appears as a 'hidden track'.

Except it doesn't. Maybe.

Click on the image below for an exclusive gallery of pictures from the shoot for These New Puritans video 'We Want War' (watch above) directed by Daniel Askill. Photos by Lucy Johnston


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Jan 11, 2010 1:04pm

All awfully rum and nice to see mystic buggery given due pop props, but doesn't it all rather fall apart the minute Oiky Mcvoacals opens his mouth and warbles like a paper thin Doherty mask?

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Vivian la magicienne
Jan 11, 2010 3:21pm

There's nothing wrong with the vocals in my opinion...

I love the fact that they bring this new war-like theme to their music in Hidden, yet somehow manage to stay humble to their original TNPS sound.
The drums are fantastic.

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Jan 11, 2010 3:52pm

Yeah, I like the way the everyman-kinda vocals contrast with music that in relative terms is so ambitious and dramatic.

'Magick-realism' for sure...

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Jan 11, 2010 4:10pm

In reply to Rob:

The ambition is admirable, but I can't help feel the reality lets it down - just like my failure to spell 'vocal'.

Bear in mind, I'm someone who'll happily listen to Luke Haines struggling to reach the high notes. Each to their own etc.

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Raph S
Jan 12, 2010 3:51am

Alas, it's what I've always wanted Bloc Party to do. Shame Kele decided to focus on diary poesie.

What an album this is! A Pitchfork style 8.9
Reminds me of PiL's Flowers of Romance.

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Jan 12, 2010 10:06pm

Listened to this today and was blown away. Bought the 10" super amazingness

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Jan 14, 2010 10:51pm

it's more Roxy meets PiL.

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Jan 15, 2010 12:14am

Want to love them, they're fucking with a lot of my favourite things . . . but 'We Want War' is piss-weak. And it's not down to the vocals, but the whole structure; they just don't know how to build tension, or create intrigue, or spin a yarn. Nothing there that captivates.

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Jan 21, 2010 2:42pm

In reply to :

Give it another go or five man. It's gold. The bassoon, the interwoven guitar, the choirs, the Bjork via Roxy vibe. Everything smacks genius. The vocals will become an acquired taste soon enough.

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Jan 22, 2010 6:59am

I hear shades of Madness, although a cyborg version. Might be wrong, but it can't really be a bad thing.

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Jan 31, 2010 3:24am

I WANT TO LIKE THIS. I really do. But, yeah the vocals are piss weak. It's admirable to strive for a new sound or push the limits of what you can do musically. And, that's what this band has done - pushed the limits of what they can do. Is that enough?

Bjork could do this and knit that funny hat he's wearing at the same time. Anything on Bjork's Medulla or Homogenic makes this look like child's play. Still, this has me interested at least.

Dude needs some voice lessons.

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Jan 31, 2010 5:59pm

In reply to bobo:

err...feel like a blunt object responding to myself, but I meant Bjork's 'people'. Perhaps it's Mark Bell and whatever collaborator she has at the time to help her come up with such extraordinary music. She is more a great Artistic Manager of her own music than anything. I doubt she comes up with much other than perhaps melody and lyrics which perhaps dictate the arrangements or structure of the songs...but these are the areas that I'm not entirely impressed with her.

All this verbosity leads to my point, if I still have we judge an artist by the final product or piece of work? Or, how much of it is theirs? How much of the music did they actually do on their own? It's all very grey these days! Did Picasso have a team of painters? Popular artists today often get credit for things they really didn't achieve on their own.

If TNP really did most of this album on their own, without much help....then I think they deserve much of the praise they are getting from critics and the music industry. But, if Timbaland or (Insert some other producer's name) did most of it, then I think it's time we stop praising the people whose faces often reach magazine covers and music blog news headlines.

As for the final work, if we are to critique, I think this is a very interesting album. Which, is why I'm even bothering to write all this crap anyway. But, interesting in a very good and divisive way as well. This album sounds very much akin to Bjork, Radiohead - actually more like Thom Yorke's Eraser, Steve Reich, MIA, and maybe some other artists. I'm wondering if there's too much influence from these other artists or if the influences are too obvious? Or, if any of that even matters. I think it's interesting how we process and debate/determine what is great music. And, how 1 minute what we think is great is crap another minute - and vice versa.

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Tom Willshaw
Mar 2, 2010 9:48pm

In reply to :

I agree, It's a song that feels like it should be epic, but it never goes anywhere.

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Mar 7, 2010 12:44am

this album sucks.

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