Forenzics: Shades and Echoes (Warners/digital outlets)

Late last year an album appeared which almost immediately disappeared despite the two heavy-hitting main players, Tim Finn and Roxy Music guitarist Phil Manzanera (who produced the Split Enz album Second Thoughts back in '76).

Admittedly the sometimes Latin-flavoured Caught by the Heart was rather specialised for a mainstream pop-rock audience or even those of mature years, but there are some classy tracks on it as Finn doesn't aim for the top of his range but delivers neatly understated vocals or speak-sings his way through the intimate lyrics.

Coloured by multi-instrumentalist Manzanera – whose guitar playing sometimes betrays his work with David Gilmour on Pink Floyd's Endless River – the songs bridge lyrically thoughtful ballads to prog-pop on album which, while not essential, is certainly worth hearing, even if only to keep up with what Finn is doing.

Finn now rejoins another companion, Eddie Rayner of Split Enz, under the self-referencing banner Forenzics for another interesting and largely understated collection , with Manzanera and Enzman Noel Crombie as guests.

With his lower range, exceptional way with a melody, the quiet pop ballad Rules is a sheer delight; Chances Are is enjoyable electro-pop with soaring guitar (and a title which harks back to Spellbound on the Enz debut album Mental Notes) and the spirit of Enz was the prompt for many of these song.

The slightly menacing pop of Walking which opens this album was apparently inspired by the Walking Down the Road (the jittery and anxious prog-pop opener of Mental Notes) and the lovely, reflective Strange Stars came from a rethink of the dramatic and anxious Under the Wheel from the same album.

But such connections are sometimes tenuous -- just shades and echoes -- and Enz prior knowledge is unimportant. A forensic/Forenzic analysis not required, just an open mind to appreciate the excellent work of the senior statesmen involved.

Here is low Euro-funk noir with Finn growling like a whisky-cured Leo Ferrer or Serge Gainsbourg (in French too) and an uneasy musical backdrop of horns and organ; the beautifully disturbing Europe Speak is a whisper-sing piece which springs off Byron's Destruction of Sennacherib (“The Assyrian came down like a wolf on the fold . . .”) and conjures up a post-war/apocalyptic vision; there are appealingly unusual sonic settings (Unlikely Friend, System Overload), catchy pop (I Spy) . . .

The collective musicianship here is superb, Rayner once again confirming what a gifted player he is . . . and always was. 

There are also many quiet delights: notably the optimistic and enhanced folk of Autumn: “the time is new and I am young again despite all the years . . . autumn is my spring and so my music grows”.

Finn – in the company of old familiars – offers ample evidence that's true on what is the most consistent, interesting and enjoyable album with his name attached since his The Conversation in 2008.

More than just a worthwhile project, this is a damn fine, understated album by any measure.

Terrible cover though.

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This album isn't on bandcamp so we refer you to Spotify here to hear it.