Song of the Week 21 (2018) – The Filthy Tongues

This week’s Song of the Week is ‘Come on Home’ the new single from the Filthy Tongues and is taken from the band’s recently released second LP ‘Back to Hell’.

It seems weird now that on first hearing the song live a few weeks ago, it seemed to me to be the least immediate of the three new songs aired. Yet, listening to the album now, it seems the obvious choice:

‘Back to Hell’ delivers far more surprises than you’d expect from a band of their vintage. Whilst it clearly shares the DNA of previous album ‘Jacob’s Ladder’, it’s far more than a re-tread of that formula.

Instead the band continue to explore new avenues. So the sleazy swagger of ‘Come on Home’ is based around the piano rather than its guitars (and sounds more than a little like latter day dEUS) whilst ‘The Ghost of Rab McVie’, which follows it on the album, carries the air of a lament to a bygone age.

‘Mother’s Got A Knife’ meanwhile is one of the album’s most striking songs as it summons up the ghost of Jimi Hendrix and ‘Who Are You?’ with its ominous verses and memorable hook surely has potential as a second single.

‘Carlos the Jackal’ has an electro-clamour which recalls some of the denser instrumentation on ‘Jacob’s Ladder’ whilst album closer ‘Take It’ is an affecting ballad which eschews any grandiose augmentation in favour of mournful violin from Susannah Clark.

‘Back to Hell’ is a worthy follow-up to ‘Jacob’s Ladder’ yet, like its predecessor, it doesn’t give all its secrets straight away – repeated listens bring new rewards each time.

The album is available now from the band’s website.

The Filthy Tongues play Glasgow, St. Luke’s this Friday (1st June) with support from Run Into The Night. Advance tickets are still available here.

They also support Sylvain Sylvain from the New York Dolls at St Luke’s again on 26th July and at the Voodoo Rooms in Edinburgh. on 27th July. [Tickets]

Getting back to those initial thoughts on ‘Come on Home’, here’s a film of the first live performance of the song and its restrained delivery perhaps explains why it seemed less immediate to me at the time: