John Grant: Boy from Michigan review – Discordant, nostalgic, compelling

John Grant’s fifth solo record is a type of exploration of the American dream, drawing on his time as a young boy and man in both Michigan and Denver. Cate Le Bon’s production brings an interesting hue to a somewhat discordant record, which that traverses themes including childhood, sexuality and capitalism.

The first three songs are what Grant has called his Michigan trilogy – and which probably form the strongest part of this record. It is a reckoning with his early life that illuminates his present – County Fair is a particular standout, as warm and charming as Queen of Denmark’s Marz, harnessing his beautiful vocal amid a glowing sense of nostalgia.

Nostalgia is everywhere on this record (as it is in much of Grant’s previous work) – whether through the Devo-like Rhetorical Figure, or the 1980s wash of the moody, squelchy-sounding, synth-led The Rusty Bull, and the spluttering Best in Me. There are nods to Human League and, at times, Roxy Music, with a touch of clarinet here and a saxophone solo there. Less salubrious moments come with something like Your Portfolio, which is grimily dark.

But Grant’s voice remains his greatest asset, and is best served when things are pared right back, such as on The Cruise Room, with its elegant piano; and The Only Baby, which manages to be both soft and strident – a compelling distillation of Grant’s worldview.