Album Review: Mapping the Rendezvous by Courteeners

Their continued status as one of Britain’s foremost indie bands and the loyalty of their fans meant that expectations were high for Courteeners’ fifth studio album ‘Mapping the Rendezvous’. Frontman Liam Fray describing the record as the “best thing since sliced Jude”, implying it would be up there with their iconic 2008 debut, only added to the hype. While not at the same level of ‘St. Jude’, Courteeners have nevertheless delivered; it’s one of their best albums to date.

Energy levels are high from the start as ‘…Rendezvous’ commences with ‘Lucifer’s Dreams’, where a blistering riff gives way to a massive chorus. “It’s cool to be seen up in Lucifer’s dreams but he never f***in’ calls me back,” intones Fray, delivering a swaggering vocal that ensures a very strong start to the album. ‘Kitchen’ is another upbeat number that takes cues from Reverend and the Makers; catchy instrumentation and a repetitive refrain mean it gets better and better with repeated listens. Next up is ‘No One Will Ever Replace Us’, the album’s second single which tells the tale of a summer festival romance. Another grower with another huge riff, it’s simultaneously heartfelt and anthemic, and it’ll sound even better live.

Things are taken down a notch on beautiful ballad ‘De La Salle’. The verses contemplate how historical figures would cope with contemporary, everyday situations, before the chorus offers a powerful message – “good things come to those who wait, God knows I’ve waited patiently, take a ticket, there’s a seat next to me.” It’s Fray at his lyrical best; ‘De La Salle’ is moving, resonant and shows pure class. The Phoenix-influenced ‘Tip Toes’ stands out less than some other tracks but is nevertheless an enjoyable effort, while ‘Not For Tomorrow’ mixes elements from all of Courteeners’ album to date to create something that is compelling in its verses and danceable when the chorus hits. Another ballad arrives in the form of the poignant ‘Finest Hour’ – keys, brass and a powerful vocal top line combine to devastatingly powerful effect.

The band’s love of France and time in Paris are reflected in ‘The Dilettante’, one of the most pop inspired tunes on the album. As throughout the album, Daniel “Conan” Moores’ guitar work is on top form and this consolidates a solid track. ‘Modern Love’, as recently debuted on Soccer AM by the band, is a very well layered song which incorporates a spoken word section (a first for the band) and one of the biggest choruses here. The penultimate ‘Most Important’ is a slight misfire, with huge production but somewhat lacklustre vocals.

‘Rendezvous’ ends with ‘The 17th’, the first taster of the album and one that, upon release, I was not fond of. It’s by no means the strongest tune here, and takes a while to find its feet – frustratingly, it cuts off having started to get really good – but from three minutes onwards there is a fair deal to enjoy, not least an impressive solo.

It’s debatable as to whether ‘…Rendezvous’ is “the best thing since sliced Jude”, but Courteeners’ fifth album is certainly more consistent than ‘Concrete Love’ and arguably ‘Anna’ also. If you’re confused by Courteeners meaning so much to so many people, this album offers perfect proof of why they command such adoration. Their Old Trafford gig in May will be magical and there are few bands who, five albums in, can still make records that are varied, powerful or constantly brilliant.

8.5/10