3rd October saw Britpop icons Ash finally release their highly anticipated new album Ad Astra, a collaborative effort with fellow Britpop icon Graham Coxon of Blur (and now The Waeve, alongside his own solo work).
With a cosmic theme and equally out-of-this-world energy, Ad Astra is both anthemic and refreshing, offering fans the opportunity to relive the years that brought Ash stardom, while managing to remain fresh and fun.
From start to finish, Ad Astra is a masterclass in classic power-pop, and proof that Ash still have every ounce of the original charm, energy, and wit that fans have grown to love so much. Despite the band being known best for their 1996 cult classic album 1977, featuring hits like ‘Girl from Mars’ and ‘Goldfinger’, Ash have proven that they are much more than just another 1990s boyband.
Despite frontman Tim Wheeler maintaining in an interview with MusicWeek that he never expected the band to “last that long without breaking up” and that he “definitely didn’t see (himself) being a musician past 40 for some reason”, the band have cultivated a devoted, tight-knit fanbase for nearly thirty years. This release makes it easy to see how.
The Northern Irish rockers’ ninth studio album kicks off with an intergalactic introduction, with a short cinematic track ‘Zarathustra’ overpowering the listener with cosmic energy before the jangling riff of ‘Which One Do You Want?’ begins. ‘Zarathustra’ is a brilliant opening, setting the tone completely for not only the storyline of the album but also the listener’s experience as a whole. With album structure and storytelling becoming somewhat of a lost art (thanks to the overpowering dominance of digital media and the dreaded shuffle button), it is both wonderful and refreshing to see.
‘Which One Do You Want?’ was one of the last singles released for the album, a lilting and fun track which drives a narrative of indecision and a loss of direction in life. It is a fantastic opener, and easy to imagine being belted out across packed rooms all over the country, much like the rest of the band’s catalogue. The guitars on this track remain a little cleaner than the others on the album, yet manage to still keep a space-like tone (keeping in theme with the rest of the album).
This is immediately shaken up, however, with track three, the first of the two features by Blur’s Graham Coxon (who not only appeared in the track’s music video, but also on stage to perform the song with the band before its release).
‘Fun People’ is, as the title suggests, a “Fun” track, a high-energy, relentless rock ‘n’ roll banger packed with attitude and sneering vocals. The highlight of the track is the fast-paced bridge sung before the final chorus, highlighting the power of both Wheeler and Coxon’s vocals when they come together.
The rest of the album continues in this vein, unpredictable, refreshing, and enjoyable. Highlights include ‘Give Me Back My World’ (a commentary on loneliness, longing to leave, and separation from society), and ‘Hallion’, arguably the strongest track on the album, which boasts an addictive hook and rapid vocals before it dives into an electric chorus (backed by a powerful riff).
Another track not to be overlooked is the band’s cover of sixties superstar Harry Belafonte’s 1961 classic: ‘Jump in the Line.’
Putting a rock-infused spin on the calypso classic, Wheeler and the band remain relentlessly energetic from start to finish. Yelling Belafonte’s words into the microphone, Ash demonstrate their ability to package the energy of a live performance into a studio track, which is remarkable in itself. Not only is the cover fantastic in its delivery and innovative take on the instrumentation, but the trio’s ability to repackage a track that is over 60 years old is remarkable!
Ad Astra is another fantastic addition to the band’s catalogue, rightfully delighting both fans and critics, and drawing drifted listeners back into their music. Accompanied by a series of incredible live shows, the album is undoubtedly a contender for one of the best albums this year, and will certainly be setting its sights on some nominations.
Words by George Connell
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