Naevus - Raise Your Puppet

On Raise Your Puppet, Naevus return as a stripped-down duo, with long-time mainstay Lloyd James, once again, joined by Ben McLees (This Is Radio Silence). But the reduced lineup isn't the only shift - this album marks a notable change in direction. While Naevus have long been known for their abstract, often obtuse approach, Raise Your Puppet presents a more direct and accessible sound. There's also a marked move away from the acoustic guitar-driven material that previously invited persistent neo-folk comparisons. What remains is unmistakably Naevus: literate, layered, and emotionally charged - but here, drawing on their post-punk influences it is delivered with a newfound clarity and intent.

'Get In' is a strong opener and a clear statement of intent for what is now their 12th album - their latest since Time Again, released in 2020. The track rides a wave of sustained shoegaze, driven by a persistent guitar strum as Lloyd repeatedly urges you to "get in." It builds further with cinematic synths, swelling into a powerful crescendo.

There has always been a strong influence from the more artful end of post-punk - particularly Wire and Magazine - in the Naevus sound, and that influence comes to the forefront on several tracks. The opening chords of 'The Men' echo Wire's 'Silk Skin Paws' before evolving into something more reminiscent of Magazine, with Lloyd's assured, precise vocals framed by angular chord progressions. This track also features a well-placed saxophone solo.

The post-punk elements continue to filter through on 'Counting Down', which is propelled by a booming bass and wrapped in a metallic shimmer of guitars - reminiscent of Keith Levene-era PiL or John McGeoch's work with Siouxsie and the Banshees. Lloyd is in top form here, delivering concise, perfectly enunciated lyrics as electronics bubble beneath, leading into a count-up over thrashing riffs.

'Setbacks' bounces along on limber bass tones and more McGeoch/Banshees-esque guitar stylings, as Lloyd recounts a tale about a first-time flyer. The track bursts into a catchy chorus that blends Lloyd's voice with that of Scarlet West. It's a prime example of Lloyd's lucid yet abstract lyricism: "Yes, that's risky, First flyer hits for six, After setbacks, Bed vacated, case dismissed". Originally released as the album's first single - written during the Covid years - and in that Naevus way, it breaks down before reconvening in a layered spoken-word passage from both Lloyd and Scarlet.

And while those post-punk elements offer accessibility and familiarity, some of the album's strongest moments recall classic Naevus, enhanced with added instrumentation to great effect. 'Going South' tells a story of decline and deterioration following the breakdown of a relationship. It opens with acoustic strumming and melodic bass notes set against drum machine rhythms. Lloyd's voice is a commanding presence amidst the strum and guitar twang, as the track gradually swells with the addition of live drums, organ, and expressive layers of guitar.

References to food have long been a staple in Naevus's lyrics, and one appears subtly in 'Going South', before becoming more explicit in 'Food Shaped the Moon'. Lloyd's slow, sullen melodic delivery drifts through a gently tremeloed shimmer, shifting between that and a clipped, strummed chorus that cleverly combines the titles of both the track and the album. The piece eventually transitions into a spoken-word passage, deepening the track's abstract tone.

From gentle, lulling chords and chiming tones, 'Concern' slips into passages of acoustic strumming, adding moments of guitar twang echoing the mood set earlier in the album. The structure and opening lyrics of 'Lent' carry a clever, unexpected nod to Madness - proving that the musical references here extend beyond post-punk. The track lunges into searing guitar underpinned by synth, rising at points to allow Lloyd's typically composed vocals to become more expressive and dynamic.

The final track, 'Handled', is slow and spacious, built around acoustic guitar and punctuated by parping synths. Lloyd's delivery is almost spoken - low, measured, and at times fractured into single words or almost crooned - while flailing waves of guitar distortion increasingly rise to interrupt and bookend his words. On an album so carefully constructed and disciplined, the closing moments feel like a deliberate unravelling. It doesn't quicken, but instead collapses in on itself, filled with crashing drums, samples, and scattered sound elements before finally bowing out into total disarray.

Raise Your Puppet stands as one of Naevus's most focused and cohesive works to date. It retains Lloyd James's signature lyrical abstraction while introducing a sharper clarity and renewed sense of purpose. The shift toward a more direct and approachable sound - combined with an expanded palette of textures and the dynamic interplay between Lloyd James and Ben McLees - results in an album that draws on their post-punk influences while preserving elements of their acoustic guitar-driven sound - that feels both immediate and enduring. For long-time followers, it offers fresh perspectives; for newcomers, it may be the most accessible entry point yet into the singular world of Naevus. A great release, complemented by beautiful artwork by Daniele Santagiuliana. Raise Your Puppet is released as a limited CD box edition with sticker and poster, as a standard CD and digitally from Fluttering Dragon bandcamp and digitally from Naevus bandcamp