Packs Of Three

‘It was the biggest cock you’ve ever seen/but you’ve no idea where that cock has been’, will forever be the strongest opening line on any album. Addressing the fear of HIV/AIDs swirling through the country at the time, this lilting dose of debauchery starts how Philophobia means to go on, frankly exploring twentysomething relationships and cementing Aidan Moffat’s persona as a Don Juan on citalopram. 

Soaps

Most relationships don’t end with a bang. As ‘Soaps’ deftly acknowledges, they burn out like a lit fag resting on an ashtray. Watching afternoon soaps with his partner acts as the quotidian death knell for Moffat’s latest relationship as Malcolm Middleton heightens the drama with a lo-fi but romantic build on the keyboard.

Here We Go

An unflinchingly accurate depiction of a drunken couple’s argument, with rain-soaked guitar backing from Middleton. Powerful enough to evoke the grey Falkirk skies in your mind’s eye. 

New Birds

An atypically virtuous track, this spoken-word piece follows a young man’s attempts to resist the devil on his shoulder and avoid an affair with his old flame. ‘You have to remember there’s this other kiss’, intones Moffat, while Middleton’s lurching guitars hint at the broiling lust hidden below the surface.

One Day, After School

Jealousy, betrayal, violence: proof (if ever it was needed) that Moffat is never going to write the next Richard Curtis film. The toxic frailty of the male ego went underexamined in 90s music, soured as the charts were by Britpop’s overwhelmingly laddish machismo. Perhaps that’s why this song (and Philophobia more broadly) remains relevant while the swaggering side of that decade has fossilised. 

Islands

An interlude from abject misery into near-ethereality. Moffat and Middleton may not be able to admit to love, but here they can almost submit to contentment. 

The Night Before The Funeral 

Sex and death intertwine as two lovers meet on the night before a funeral, and mourners discuss Viking burials. Another subtle feat of guitarwork from Middleton, which anchors Moffat’s elliptical storytelling. 

Not Quite A Yes

Moffat is slaughtered at the bar trying to impress a prospective partner and Middleton fingerpicks his way to ecstasy. Arguably the slightest song in this collection, but a slyly humorous one nonetheless. 

Piglet

An ambiguous story of betrayal and jealousy, made grimmer by the sniping viciousness of male toxicity and possessiveness.  

Afterwards

Post-coital cooldown sounding like a descent into hell. ‘I think tomorrow we might be sore,’ sing Moffat and guest vocalist Adele Bethel, underlining the stark difference between love and lust. 

My Favourite Muse

‘I pulled the ex last night,’ remarks Moffat, his resolve in ‘New Birds’ faltering completely. Another drunken mistake which Middleton adds shape to with ghoulish keyboards and gothic chords. 

I Would’ve Liked Me A Lot Last Night

An expansive comedown song viewing the thrill of a night out through the warped mirror of a hangover. It’s gloriously miserable, all wailing violins and slowly ascending guitars as Moffat’s voice breaks to a defeated growl. 

The First Time You’re Unfaithful 

Is it possible for a serial philanderer to turn over a new leaf? That’s the question posed here, answered by the immortal line, ‘She was fairly adamant I’m nothing but a lying cunt.’ After relistening to Philophobia, ‘she’ may have a point.
Arab Strap: Philophobia Undressed Tour, Monday 4–Sunday 10 December.