Duke Spirit

It's hard not to think PJ Harvey when listening to The Duke Spirit. Should that really matter? Maybe. Neptune continues the raw power, guitar-based rock formula they developed on Cuts Across The Land—beefed up thanks to Queens of the Stone Age producer Chris Goss' production credit here—with a faint hint of Shangri-Las, girl-group action thrown in to soften things up.

The lingering question when listening to this group is: how convincing is lead Duke, Liela Moss, as a front-woman? She's not as brash as Karen O, and doesn't have the sultry-shriek thing that Polly Jean has; but, there is an emotive, bluesy quality that shines on this record, undulating through the tracks that could be easy to miss when not paying close attention. Moss can be whispery and gentle on the slow, fuzzy "Wooden Heart"; a bit Joan Jett-y on "The Step And The Walk"; and "Into The Fold" convinces us she can get passionately angry when the emotion is called for.

The record's best offering is "Dog Roses," a track that relies on heavy percussion as the driving force, even bringing in a harmonica [manned by Moss herself] towards the end, suggesting they could totally hang up those guitars if the want—which may not be such a bad idea (they'd probably shake those doggone comparisons that keep popping up). Moss' subtle presence and jailhouse talent breathes life into the band and may prove that she is climbing the ranks, getting achingly close to the standard O and Harvey have cemented.

—Michael D. Ayers
04.16.08

Perhaps it shouldn't be surprising that Neptune sounds so much more polished and cohesive than the Duke Spirit's first album, Cuts Across the Land. After all, their debut was culled from years' worth of singles and EPs, while this album was recorded almost three years after Cuts Across the Land was ready for release. At any rate, it's a pleasant surprise: on Neptune, the Duke Spirit don't just focus their music, they expand on it, too. For the album's sessions, the band reunited with producer Chris Goss, who they worked with on "Mayday," their song for UNKLE's 2007 album, War Stories, and it's clear from the hymn-like opening track, "I Do Believe," that Neptune boasts more studiocraft than anything the Duke Spirit did before. Fans of the band's scuzzy, experimental side will miss the rawness that Cuts Across the Land had in spades, but chances are they won't miss it for long, because Neptune's songs are just as compelling as they are polished. "Send a Little Love Token" and "Into the Fold" show off the band's formidable rock, even if they're not as serrated as they would've been had they appeared on Cuts Across the Land, while "The Step and the Walk" shows how the album's polish sets off Liela Moss' tough but graceful singing. More than ever, her richly raspy vocals are the band's focal point: she's crisply self-assured even on the bluest songs, such as the lunging ballad "Dog Roses," and unsinkable on "This Ship Was Built to Last," a churning blues-rocker that sways to and fro between surging brass and slide guitar like a boat caught in a storm. The other bandmembers stretch to match Moss' newfound versatility, often with striking and unexpected results. The group's Sonic Youth fetish resurfaces with "You Really Wake Up the Love in Me," which ignites the sexy buzz of "Sugar Kane" with more hooks and passion as Moss wails "You always stir up the sea." Then they follow that song with the album's biggest surprise, "My Sunken Treasure," sweetly soulful pop with bouncy pianos straight out of Motown. For every tempest like "Lassoo" or "Neptune's Call," there's an unabashedly pretty moment like the almost serene "Wooden Heart" or "Sovereign," either of which would have been completely out of place on Cuts Across the Land -- but it's the depth, power, and flair of moves like these that make Neptune the real introduction to the Duke Spirit. ~ Heather Phares, All Music Guide