The latest release from Ceramic Animal is due for release on March 4th and see’s an added punch to their already strong songwriting and musical talents. Produced by Dan Auerback, guitarist and vocalist for The Black Keys, the 5 piece from Doylestown, Pennsylvania are made up of brothers Chris Regan (vocals, guitar), Erik Regan (drums), and Elliott Regan (vocals, keys), along with childhood friend Anthony Marchione (guitar) and Dallas Hosey (vocals, bass). This fourth album comes on the back of self-funded, self-produced and self-released albums High End (2020), The Horse (2018) and The Cart (2016).

‘Tangled’ gives us a gentle, blues rock start to the new album. The guitars are a little dirtier than most of the album at the outset but that nicely bookends with ‘Valerie’ as the last track. It drifts into a strong pop number as the track progresses, previewing the multiple different sounds and styles the album has in buckets.

‘I Can’t  Wait’ picks up the pace a little with those guitars at the heart as the track builds. ‘I Love a Stranger’ takes a smoother turn, a little more pop with the beat feeling decidedly ‘men in black’ in the intro, with a verse shaped like Suzanne Vega’s ‘Tom’s Diner’. It feels laid back and relaxed as it bounces along ‘I Don’t Wanna Wait’ later in the album fits a similar mould.

‘Long day’ takes another turn, a little closer to Ceramic Animal’s psychedelic roots with the layered vocals and backing but preserving that gentle vibe of rolling through the US in a beat up old car during a hot summer day with the window down.

‘Forever Song’ starts with a sparse, almost haunting vocal with gentle clean guitar backing before joining that rolling vibe of the earlier tracks. This is probably my favourite on the album, it has everything. The title track ‘Sweet Unknown’ feels different again. It’s almost U2-esque with its vocals and swirling, echoing guitars. ‘Up in Smoke’ picks up the pace again and goes back to some of those 70’s pop / glam / psych rock influences of their earlier material, however the slide guitar gives a little more country feel to this one, maybe bringing in producer Auerback’s influence following his move to Nashville.

‘Private Dancer’ sounds like the material from The Horse, after it has been stretched and fattened up, giving it a fuller, more robust sound.  ‘Valerie’ ends the album on a high tempo, chugging guitar peak that almost feels like Primal Scream in their pomp. Live, this song will take the roof off and really get the place jumping.

The production is slick, the sound is strong, with real depth and you can hear the varied influences and styles criss-crossed throughout the album. But as a complete piece, it works so well. The guitars are more present and articulate in this release than their earlier work and that rhythm just keeps rolling through the whole album, that by the end feels like an old friend sat beside you.

Pick up the new album in all of the usual places online from March 4th or head over to https://ceramicanimal.net/ for some cool vinyl options (who doesn’t want yellow vinyl?!?!?!).

Review by Glenn Morrison