Rather crucially, Oasis have stuck with a producer for the first time since the 90s as well, bringing back Dave Sardy for a second round after his work on Don't Believe the Truth. Say what you will about that album, but it's clear that the work on the album at least helped to give Oasis some desperately needed focus, something that was all but lacking when the group tried to produce themselves on Heathen Chemistry. Clearly, you learn from your mistakes, and Oasis has done plenty of that on this record. This is most notable in the songwriting, especially during the second half. While both Heathen Chemistry and Don't Believe the Truth featured contributions from Gem and Andy, these cuts were significantly weaker contributions to the album, and even Liam's writing still had some catching up to do. I'm proud to announce that all three bring their A-game for this release. Gem Archer's "To Be Where There's Life", in my opinion, takes the proud award of being the greatest Oasis song not written by a Gallagher, mellow and spacey and just as catchy as any offering from a Gallagher. Andy Bell's "The Nature of Reality" is also nothing to snooze at, even if it may stand as one of the album's weaker moments. Then, of course, there's Liam, whose three contributions showcase a tremendous level of songwriting growth reminiscent of Dennis Wilson's gradual blossoming as a writer on the likes of Sunflower. "Ain't Got Nothin'" shows the group in some of their heaviest rocking since "Gas Panic!", and the album closing "Soldier On", while also generally a weaker moment in the album running, makes for an effective conclusion and message of continuing to press on. The real winner, however, is "I'm Outta Time", a soaring Lennon-esque pop rock number that undoubtedly stands as Liam's greatest contribution to Oasis, and it makes every middling or bad song prior worth it - it is as good as any hit written by his brother. The fact that it missed the top 10 in Britain is nothing short of a tragedy. All of these songs are also boosted Sardy's production, which is every bit more powerful, focused, and shimmering than its predecessor. It's undoubtedly their best-sounding album since Morning Glory.
Then, of course, there's Noel Gallagher's material, and I will not mince my words here - this is Noel's best material since Be Here Now. The album that Noel creates for us in the first half is some of Oasis' most assured, matured material in their entire career, halfway between the Chemical Brothers and their 90s selves. Opening the album with a three-pronged attack in "Bag It Up", "The Turning", and "Waiting for the Rapture" was no mistake - it's a statement of correction towards everyone who had begun to doubt Oasis. For everyone who thinks that they can't rock anymore, listen to this. "The Turning" is as good as any of their classic singles, and it helps that Liam's voice has just enough punch to sell it - did I mention his voice is a bit improved from Don't Believe the Truth? It's subtle, but it makes a world of difference throughout, especially when given powerhouse numbers like "The Turning" or "Ain't Got Nothin'". Noel himself steps up to the mic on "Waiting for the Rapture", with its building intensity and "Five to One" guitar riff, his vocals are well-suited to the ballooning power of the album. There's of course the album's other two singles; the first of them, "The Shock of Lightning", is indeed a radical shock - a reinvigorated Oasis, playing their heart out and sounding just as good as they did in the glory days. It's almost as if they never really left, huh? Then, there's "Falling Down", the final testament of the group, rocking and energized and yet beautiful and reflective all at the same, and it carries a certain melancholy that made the group's most poignant songs land. You can hear it in the lyrics - "time to kiss the world goodbye". It's almost as if they knew what was coming. Perhaps Noel's only stumble is "Get Off Your High Horse Lady", but calling this blues-leaning and understated number that ends the first half a weak moment isn't exactly doing it justice - it's almost a held breath just before the unleashing of "Falling Down". All throughout these numbers, and more, Oasis plays like a rejuvenated unit. In tandem with the increasing quality of the non-Noel songs, it shows what was certain to be a bright, new era for Oasis...
...and then 2009 came. Then the split came. Then there was Beady Eye and the High Flying Birds and over a decade of jabs and bad blood. Isn't it funny how it's all looped around. All of this context helps put Dig Out Your Soul in a new, interesting light, not as the group's Abbey Road but as their Revolver - the start of something new. The lead single for this album, the previously mentioned "Shock of Lightning", places a heavy emphasis on the phrase "all in good time" during the chorus. In good time, Oasis have fallen back together, and in good time we'll see if this means any potential studio work coming from them once again. Part of me is unsure if that will happen, and given Liam's somewhat forgettable collaboration with John Squire, part of me is even more unsure on what the potential quality of such a return would be. Ultimately, though, it remains speculation - what isn't speculation is the fact that even more than a decade after they once owned the world, Oasis had once again had it within their grasps on Dig Out Your Soul, and they were just as willing to kiss it all goodbye when it was all said and done. If this was always intended as a final act, then it was a damn good one.
RATING: ✯✯✯✯✯✯✯✯✯✯
Listen to Dig Out Your Soul.
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