I realised yesterday that for the last week or so, I've been listening exclusively to music that is at least ten years old, or new music by bands I discovered at least ten years ago. This may account for the lack of updates on here. I should mention that my listening has mainly centred around the new Grant Lee Phillips album (and old Grant Lee Buffalo stuff), the new Hope Sandoval album (and old Mazzy Star stuff) and the new Sleeping Years EP (and old Catchers stuff). I seriously need someone to recommend me some new bands that I might like. I can't remember the last time I discovered a really good NEW band.
In any event The Sleeping Years 'Into Sunlight' is single/EP of the week and, for that matter, month. It is out now as a four track single on itunes and out Monday on 7" vinyl. The lead track is probably the most catchy, poppy song that Dale Grundle has put his name too since Catchers' 'Cotton Dress'. Really shimmery, pretty stuff with a flourish of brass at the end that makes it sound grand, its a great song and one deserving of more airplay and attention than it will most likely get.
The b sides are both quiet, slower songs. 'Katherine Cove' is particularly good, sounding dark and mysterious. Sleeping Years' last album 'We're Becoming Islands One By One' was shamefully overlooked in most of last year's 'best album' lists (not mine!), but this single offers hope that their next album is going to be even better.
Thursday, 29 October 2009
Wednesday, 21 October 2009
Grant-Lee Phillips 'Little Moon'
Former Grant Lee Buffalo frontman, Grant-Lee Phillips' solo career had been frustratingly inconsistent thus far. Ten years in and the highlight was still his understated debut solo EP 'Ladies Love Oracle'. From there on he has produced a fairly wide range of styles but whilst each album has had something to recommend it, each has been let down either by poor production, a lack of strong songs or in the case of 2007's 'Strangelet' a lack of any interesting lyrical or musical ideas at all. After last year's nadir, a woefully inessential album of 80s covers, he returns with his fourth solo album of original songs.
'Little Moon' was written and recorded quickly, with a four-piece band and consequently of all Phillips' albums it is the most natural and 'live' sounding. Recent efforts have suffered under the weight of a good deal of studio-trickery and over-production but the sound here is fresh with plenty of room for the songs to breathe. And happily, 'Little Moon' is a fine and diverse collection of songs, by some distance Phillips' best work since the last days of Grant Lee Buffalo.
It is also a very positive and uplifting album. Phillips is enjoying domestic bliss with his wife and recently-born daughter Violet, so this was never likely to be an angst fest, and so it proves. Opener 'Good Morning Happiness' is like a less irritating version of 'Wake Up Boo!', a short, sharp blast to welcome you in. Elsewhere, Phillips varies the pace and feel more than he has in the past and the result is an album that sounds full of ideas. The title track for example is a lovely, drawn out ballad sung beautifully by Phillips in a warm croon over piano and strings, but it is followed by the swagger and stomp of 'It Ain't The Same Old Cold War Harry' with brass accompaniment.
Elsewhere 'Blind Tom' is a pretty piano ballad about catching songs on the wind, 'One Morning' is an anthemic guitar-led number sounding more like Phillips' old band than anything else here and 'Older Now' is a funny/sad song about ageing delivered in a patient and soothing style that emphasises Phillips' maturity and ease.
I was a fan of Grant Lee Buffalo and have bought every Phillips solo album really wanting to like it, but despite still being an engaging live performer his LPs have always been something of a let down. This however, is excellent. A varied and always interesting collection of memorable songs. Highly recommended. Assured and confident.
'Little Moon' was written and recorded quickly, with a four-piece band and consequently of all Phillips' albums it is the most natural and 'live' sounding. Recent efforts have suffered under the weight of a good deal of studio-trickery and over-production but the sound here is fresh with plenty of room for the songs to breathe. And happily, 'Little Moon' is a fine and diverse collection of songs, by some distance Phillips' best work since the last days of Grant Lee Buffalo.
It is also a very positive and uplifting album. Phillips is enjoying domestic bliss with his wife and recently-born daughter Violet, so this was never likely to be an angst fest, and so it proves. Opener 'Good Morning Happiness' is like a less irritating version of 'Wake Up Boo!', a short, sharp blast to welcome you in. Elsewhere, Phillips varies the pace and feel more than he has in the past and the result is an album that sounds full of ideas. The title track for example is a lovely, drawn out ballad sung beautifully by Phillips in a warm croon over piano and strings, but it is followed by the swagger and stomp of 'It Ain't The Same Old Cold War Harry' with brass accompaniment.
Elsewhere 'Blind Tom' is a pretty piano ballad about catching songs on the wind, 'One Morning' is an anthemic guitar-led number sounding more like Phillips' old band than anything else here and 'Older Now' is a funny/sad song about ageing delivered in a patient and soothing style that emphasises Phillips' maturity and ease.
I was a fan of Grant Lee Buffalo and have bought every Phillips solo album really wanting to like it, but despite still being an engaging live performer his LPs have always been something of a let down. This however, is excellent. A varied and always interesting collection of memorable songs. Highly recommended. Assured and confident.
Saturday, 17 October 2009
Mark Eitzel 'Klamath'
'Klamath' is the new solo record from Mark Eitzel. You're only going to be able to buy this either directly from Mark ( www.markeitzel.info ), through his European distributer Decor Records or from Mark at a show. On his website he states that he needs to sell 500 of these, he is by all accounts pretty broke. This is a tragedy.
Mark Eitzel is an amazing songwriter, he has written some of the most beautiful, affecting and, sometimes, funny songs that we have. His album 'Songs of Love live' is an absolute bona-fide all time CLASSIC. A partial recording of a solo gig from 1988, just Eitzel and his guitar, it is a document of Eitzel playing his songs, absolutely from the heart, occasionally sobbing, laughing, apologising, it is sad, touching, heart in mouth stuff...just like seeing Eitzel play live. Everything he has ever recorded has been honest and from the heart and unfortunately that has not resulted in huge sales.
In a right and proper world, he would be recognised as one of the World's top songwriters, 'Songs of Love live' would have been reissued in some kind of deluxe version with the full gig and a bonus dvd or something and this new album, 'Klamath', would be eagerly awaited by millions. But life's not like that and, in a way, Eitzel wouldn't be Eitzel if things were this way. Instead he has his small but loyal fanbase who buy everything, try to convert people and attend gigs knowing it could be terrible or it could be just about the best show they've ever seen.
Even on his poorest ever album, 2005's 'Candy Ass', there was 'Sleeping Beauty' a song that makes me gasp everytime I hear it and was later re-recorded with American Music Club. Its a tattered, broken song with such strong imagery that I have my own little film that plays in my mind each time I hear it. Its maybe the most beautiful song I have ever heard.
'Klamath', like the last couple of Eitzel solo releases, is recorded largely by the man himself with the aid of Pro Tools. Occasionally the use of Pro Tools is frustrating, a track like 'Like A River That Reaches the Sea' sounds like it would be just fine with Eitzel singing and playing acoustic guitar, instead it is spoilt a little by the electronic shenanigans going on in the background.
There is more than enough here to warrant buying this album though. 'The Blood On My Hands' with its alarming opening line 'Now girls, if you want to maintain a look like mine, then you've gotta spend hours on your face, and your nails and your hair', is fully formed and sung with a snarl. 'I Miss You' is soft and regretful ("I miss you/ your heart was warm".
The best tracks though come in the second half of the record when Eitzel more often than not ditches the electronics and just plays guitar and sings. 'I Live In This Place' is spectacular, minimal and broken. Apparently written about a prostitute looking back at their life, it can also be taken as autobiographical and is classic Eitzel....as is the title of 'Why I'm Bullshit', the song too wit its "all I know is I betrayed you" refrain.
Still time for two more standouts. 'Remember' could have been on any of the early AMC albums, acoustic, gentle and fragile. Closer 'Ronald Koal Was A Rock Star' sounds out of place...but in a good way. Loud, funny and containing electric guitar, its an uplifting end to the record.
Eitzel carries on. As he sings here "I know I'll be doing this for the rest of my life". Maybe he will, or maybe he'll get tired of it, sometimes it sounds like writing these songs, recording them and playing them to audiences is a big struggle for him and he'd be happier doing something else. Whatever, I'm glad I own this record, I'm glad I've seen him play live several times, I hope he sells more than 500 of these.
You should buy this record. This is a songwriter wearing his heart on his sleeve.
['Klamath' is out now via www.markeitzel.info or http://www.decorrecords.com ]
Mark Eitzel is an amazing songwriter, he has written some of the most beautiful, affecting and, sometimes, funny songs that we have. His album 'Songs of Love live' is an absolute bona-fide all time CLASSIC. A partial recording of a solo gig from 1988, just Eitzel and his guitar, it is a document of Eitzel playing his songs, absolutely from the heart, occasionally sobbing, laughing, apologising, it is sad, touching, heart in mouth stuff...just like seeing Eitzel play live. Everything he has ever recorded has been honest and from the heart and unfortunately that has not resulted in huge sales.
In a right and proper world, he would be recognised as one of the World's top songwriters, 'Songs of Love live' would have been reissued in some kind of deluxe version with the full gig and a bonus dvd or something and this new album, 'Klamath', would be eagerly awaited by millions. But life's not like that and, in a way, Eitzel wouldn't be Eitzel if things were this way. Instead he has his small but loyal fanbase who buy everything, try to convert people and attend gigs knowing it could be terrible or it could be just about the best show they've ever seen.
Even on his poorest ever album, 2005's 'Candy Ass', there was 'Sleeping Beauty' a song that makes me gasp everytime I hear it and was later re-recorded with American Music Club. Its a tattered, broken song with such strong imagery that I have my own little film that plays in my mind each time I hear it. Its maybe the most beautiful song I have ever heard.
'Klamath', like the last couple of Eitzel solo releases, is recorded largely by the man himself with the aid of Pro Tools. Occasionally the use of Pro Tools is frustrating, a track like 'Like A River That Reaches the Sea' sounds like it would be just fine with Eitzel singing and playing acoustic guitar, instead it is spoilt a little by the electronic shenanigans going on in the background.
There is more than enough here to warrant buying this album though. 'The Blood On My Hands' with its alarming opening line 'Now girls, if you want to maintain a look like mine, then you've gotta spend hours on your face, and your nails and your hair', is fully formed and sung with a snarl. 'I Miss You' is soft and regretful ("I miss you/ your heart was warm".
The best tracks though come in the second half of the record when Eitzel more often than not ditches the electronics and just plays guitar and sings. 'I Live In This Place' is spectacular, minimal and broken. Apparently written about a prostitute looking back at their life, it can also be taken as autobiographical and is classic Eitzel....as is the title of 'Why I'm Bullshit', the song too wit its "all I know is I betrayed you" refrain.
Still time for two more standouts. 'Remember' could have been on any of the early AMC albums, acoustic, gentle and fragile. Closer 'Ronald Koal Was A Rock Star' sounds out of place...but in a good way. Loud, funny and containing electric guitar, its an uplifting end to the record.
Eitzel carries on. As he sings here "I know I'll be doing this for the rest of my life". Maybe he will, or maybe he'll get tired of it, sometimes it sounds like writing these songs, recording them and playing them to audiences is a big struggle for him and he'd be happier doing something else. Whatever, I'm glad I own this record, I'm glad I've seen him play live several times, I hope he sells more than 500 of these.
You should buy this record. This is a songwriter wearing his heart on his sleeve.
['Klamath' is out now via www.markeitzel.info or http://www.decorrecords.com ]
Friday, 16 October 2009
The Twilight Sad 'Forget The Night Ahead'
The Twilight Sad are long time TracksandGigs favourites. Their debut album, released in 2007, was astonishingly assured for a first effort. Mixing passionate vocals with wall of sound guitars and pulsating drumming, it sounded like nothing else around and set the bar high for the follow up record.
A couple of EPs later and Kilsyth's finest are now back with their second full length album and 'Forget The Night Ahead' is quite some album. Lyrically as dark as dark can be, James Graham's words create a feeling of unease, trauma and regret, he doesn't tell stories, rather he plants words and phrases in your mind and creates an atmosphere. As with 'Fourteen Autumns and Fifteen Winters' there are many references to childhood and past trauma, but the themes are ambiguous and somewhat enthralling.
Musically, this is a dense but cold record. Aside from the terrific, innovative noisy guitar, there are memorable basslines and some superb drumming. Opener 'Reflection of the Television' is dark and brooding, sounding like a track from their quieter EP 'Here It Never Snowed', just as it builds it flows into 'I Became A Prostitute', powerful and raw and just about the most anthemic they have ever sounded.
A sequence of fast, loud songs follow, 'Made To Disappear' is a highlight with it's "I only wanted some honest fun" refrain, after a forbidding instrumental, the album reaches a peak with 'The Room'. Built largely on a piano refrain and simple drum beat, the song builds slowly with ominous strings in the background, Graham sings "you're the Grandson's toy in the corner, don't tell anyone else", it is all menacing, disturbing but somehow quite beautiful, maybe the best song they have yet recorded.
There is no let up in the quality. 'Floorboards Under The Bed', started with Graham singing away from the mic, is similarly full of suspense and tension, whilst louder songs such as 'That Birthday Present' offer some release, in this case in the story of a hedonistic friend's spiral down.
Right through to the dark closer 'At The Burnside' this is an excellent album. Guitarist Andy MacFarlane does an excellent job of creating thick fogs of innovative guitar noise for Graham to sing over...and he has matured into a fine singer, knowing when to emote and when to tone it down a level. The mix between noisy numbers and the more minimal, tension filled tracks is just right. This is a powerful, dark but very listenable record.
9.4
['Forget The Night Ahead' is out now on Fat Cat. The Twilight Sad are touring the UK from next week]
A couple of EPs later and Kilsyth's finest are now back with their second full length album and 'Forget The Night Ahead' is quite some album. Lyrically as dark as dark can be, James Graham's words create a feeling of unease, trauma and regret, he doesn't tell stories, rather he plants words and phrases in your mind and creates an atmosphere. As with 'Fourteen Autumns and Fifteen Winters' there are many references to childhood and past trauma, but the themes are ambiguous and somewhat enthralling.
Musically, this is a dense but cold record. Aside from the terrific, innovative noisy guitar, there are memorable basslines and some superb drumming. Opener 'Reflection of the Television' is dark and brooding, sounding like a track from their quieter EP 'Here It Never Snowed', just as it builds it flows into 'I Became A Prostitute', powerful and raw and just about the most anthemic they have ever sounded.
A sequence of fast, loud songs follow, 'Made To Disappear' is a highlight with it's "I only wanted some honest fun" refrain, after a forbidding instrumental, the album reaches a peak with 'The Room'. Built largely on a piano refrain and simple drum beat, the song builds slowly with ominous strings in the background, Graham sings "you're the Grandson's toy in the corner, don't tell anyone else", it is all menacing, disturbing but somehow quite beautiful, maybe the best song they have yet recorded.
There is no let up in the quality. 'Floorboards Under The Bed', started with Graham singing away from the mic, is similarly full of suspense and tension, whilst louder songs such as 'That Birthday Present' offer some release, in this case in the story of a hedonistic friend's spiral down.
Right through to the dark closer 'At The Burnside' this is an excellent album. Guitarist Andy MacFarlane does an excellent job of creating thick fogs of innovative guitar noise for Graham to sing over...and he has matured into a fine singer, knowing when to emote and when to tone it down a level. The mix between noisy numbers and the more minimal, tension filled tracks is just right. This is a powerful, dark but very listenable record.
9.4
['Forget The Night Ahead' is out now on Fat Cat. The Twilight Sad are touring the UK from next week]
Sunday, 11 October 2009
The Sleeping Years 'Into Sunlight'
So much great music around at the moment. I have to say none of it better than the incredible new Twilight Sad album, which I am still writing a review of, but I was delighted to receive the forthcoming single from The Sleeping Years...
Dale Grundle's new band produced one of the albums of 2008, the new single 'Into Sunlight' is a taster from their forthcoming second album and by the sounds of it, it could be an even better record. 'Into Sunlight' itself is a wonderfully upbeat, joyful pop song with the trademark acoustic guitar, cello and yearning vocals but with a fuller sound and a coda featuring some added trumpet.
B Side 'Katherine Cove' is more stripped down and moody, led by vocal, piano and cello. "I'm so far from God here/ I'm so far from home" sings Grundle.
These two songs both sound as good, if not better than most of 'We're Becoming Islands One By One', the cello in particular sounds really great and mixes so well with Grundle's voice.
The single is out on November 2nd, on vinyl and download. It will actually feature a couple more tracks than I've heard so far, so I'll blog about them when I get the vinyl. In the meantime, The Sleeping Years play an acoustic show at London's Boogaloo, this Wednesday.
Dale Grundle's new band produced one of the albums of 2008, the new single 'Into Sunlight' is a taster from their forthcoming second album and by the sounds of it, it could be an even better record. 'Into Sunlight' itself is a wonderfully upbeat, joyful pop song with the trademark acoustic guitar, cello and yearning vocals but with a fuller sound and a coda featuring some added trumpet.
B Side 'Katherine Cove' is more stripped down and moody, led by vocal, piano and cello. "I'm so far from God here/ I'm so far from home" sings Grundle.
These two songs both sound as good, if not better than most of 'We're Becoming Islands One By One', the cello in particular sounds really great and mixes so well with Grundle's voice.
The single is out on November 2nd, on vinyl and download. It will actually feature a couple more tracks than I've heard so far, so I'll blog about them when I get the vinyl. In the meantime, The Sleeping Years play an acoustic show at London's Boogaloo, this Wednesday.
Saturday, 10 October 2009
Richard Hawley 'Truelove's Gutter'
I've always found Richard Hawley a little confusing. I've seen him live a couple of times, supporting other bands, and he has a terrific sense of humour and is an engaging and entertaining character. This has never, for me, come across in his music which, certainly in the case of his last two records, has sounded overly sentimental with his deep croon sounding ever so slightly mannered. I always wondered if he had worked so hard to cultivate an image that he didn't really 'mean it' anymore.
His new album is certainly a change of direction from the dull 'Lady's Bridge' which seemed to be a poor attempted re-write of 'Coles Corner'. This time the songs are longer, the subject matter is darker and for the most part, this works well.
The songs are drawn out and unhurried. Musically the record is very low key with an emphasis on atmospherics and this suits Hawley's voice well allowing him to unravel some memorable vocal melodies. Opener 'As The Dawn Breaks' for example is gentle and understated but with a haunting vocal that sticks in the mind.
Elsewhere, songs like 'Open Up Your Door' are more familiar retro-style Hawley pieces with plenty of guitars and subtle but uplifting strings. The undoubted highlight though is 'For Your Lover Give Some Time', a perfectly executed love song for Hawley's wife, full of evocative imagery, sung quite beautifully and always reigned in, so never sounding too overblown.
Some of the songs here are a little too long and there is something of a lack of variety, but that is maybe the point. It sounds like Hawley has made the album he wanted to make here, without compromise. It is an old style record full of tasteful and subtle ballads, dark but comforting, perfect for the Winter nights ahead.
7.4
['Truelove's Gutter' is out now on Mute. Hawley is currently touring the UK]
His new album is certainly a change of direction from the dull 'Lady's Bridge' which seemed to be a poor attempted re-write of 'Coles Corner'. This time the songs are longer, the subject matter is darker and for the most part, this works well.
The songs are drawn out and unhurried. Musically the record is very low key with an emphasis on atmospherics and this suits Hawley's voice well allowing him to unravel some memorable vocal melodies. Opener 'As The Dawn Breaks' for example is gentle and understated but with a haunting vocal that sticks in the mind.
Elsewhere, songs like 'Open Up Your Door' are more familiar retro-style Hawley pieces with plenty of guitars and subtle but uplifting strings. The undoubted highlight though is 'For Your Lover Give Some Time', a perfectly executed love song for Hawley's wife, full of evocative imagery, sung quite beautifully and always reigned in, so never sounding too overblown.
Some of the songs here are a little too long and there is something of a lack of variety, but that is maybe the point. It sounds like Hawley has made the album he wanted to make here, without compromise. It is an old style record full of tasteful and subtle ballads, dark but comforting, perfect for the Winter nights ahead.
7.4
['Truelove's Gutter' is out now on Mute. Hawley is currently touring the UK]
Tuesday, 6 October 2009
Hope Sandoval and the Warm Inventions 'Through The Devil Softly'
I was a pretty devout Mazzy Star fan back in the 1990s. As was the way in those days, I would scan the news pages in the NME each week in the hope of reading about a new release from David Roback and Hope Sandoval. Only three records ever came of course, but they were perfect. A mix of folk, blues, acoustic ballads and psychadelia with Sandoval's warm, golden voice purring over the top. They never recorded a bad track, let alone a bad record.
Since they split, Sandoval has made one record with The Warm Inventions, the slightly disappointing 'Bavarian Fruit Bread', but nothing has been heard from her in seven years. Now she returns with, what else but, more of the same. Sandoval has been making the same record for near on twenty years, why on Earth would she stop now?
'Through The Devil Softly' is a record out of time in many ways. It has nothing to do with any current fashions or trends and it is wholly unsuited to the present vogue for listening to music 'on the go'. You'd no more want to listen to this on the tube or while walking round town on your lunchbreak than you would feel inclined to beat yourself over the head with a stick; it'd be pointless. This is a record that demands to be listened to without distractions, to be wallowed in and hypnotised by.
The sound is luxurious. Slide guitar, piano, cello and of course acoustic guitar create a rich, shimmery landscape and of course Sandoval sings beautifully. The record moves at such a languorous pace that you are often completely unaware of which track you are listening to or how near the start or end of the record you are. Only when something unexpected happens, such as the vaguely strident drum roll at the opening of 'Trouble', do you jolt back to the present.
Highlights? The low bass rumble of 'The Rest Of Your Life' with spooky glockenspiel and Sandoval's singing as cold as ice, the delicate acoustics of 'Lady Jessica and Sam', probably the most 'Fade Into You'-sounding of any track here and the incredible finale 'Satellite' which opens with the sound of lapping waves and then comes on like a fuzzy, distorted torch song from the end of the world.
People talk about albums becoming un-necessary in this world of instant downloads, but this record is a clear example of why they are talking rot. Buy this album, switch off the lights, disconnect the phone and turn off all distractions and allow it to wash over you. Gentle, soothing and in it's own way, spectacular.
9.3
['Through The Devil Softly' is out now on Nettwerk. Sandoval plays Queen Elizabeth Hall on 8 November]
Since they split, Sandoval has made one record with The Warm Inventions, the slightly disappointing 'Bavarian Fruit Bread', but nothing has been heard from her in seven years. Now she returns with, what else but, more of the same. Sandoval has been making the same record for near on twenty years, why on Earth would she stop now?
'Through The Devil Softly' is a record out of time in many ways. It has nothing to do with any current fashions or trends and it is wholly unsuited to the present vogue for listening to music 'on the go'. You'd no more want to listen to this on the tube or while walking round town on your lunchbreak than you would feel inclined to beat yourself over the head with a stick; it'd be pointless. This is a record that demands to be listened to without distractions, to be wallowed in and hypnotised by.
The sound is luxurious. Slide guitar, piano, cello and of course acoustic guitar create a rich, shimmery landscape and of course Sandoval sings beautifully. The record moves at such a languorous pace that you are often completely unaware of which track you are listening to or how near the start or end of the record you are. Only when something unexpected happens, such as the vaguely strident drum roll at the opening of 'Trouble', do you jolt back to the present.
Highlights? The low bass rumble of 'The Rest Of Your Life' with spooky glockenspiel and Sandoval's singing as cold as ice, the delicate acoustics of 'Lady Jessica and Sam', probably the most 'Fade Into You'-sounding of any track here and the incredible finale 'Satellite' which opens with the sound of lapping waves and then comes on like a fuzzy, distorted torch song from the end of the world.
People talk about albums becoming un-necessary in this world of instant downloads, but this record is a clear example of why they are talking rot. Buy this album, switch off the lights, disconnect the phone and turn off all distractions and allow it to wash over you. Gentle, soothing and in it's own way, spectacular.
9.3
['Through The Devil Softly' is out now on Nettwerk. Sandoval plays Queen Elizabeth Hall on 8 November]
The Mountain Goats 'The Life of the World in Flux'
For those Mountain Goats fans who do not yet own the stunning new album (and I should say at this point that I now have FIVE versions of this in my possession...promo, ordinary cd, itunes version for the bonus track, LP and the edition I am about to mention...), you could do worse than head to Rough Trade or even roughtrade.com and buy from them.
If you do, you'll get a nice limited edition pack which contains 'The Life Of The World In Flux' a 13 track cd of demos and sketches of the album's tracks, including a couple that didn't make it onto the LP. All intimate, hushed, low key, lovely stuff.
Incidentally I've read some reviews that hint that there is an amount of cynicism in some of the lyrics on the album. Personally I don't really find that. I don't know what Darnielle's religious beliefs are but I just take these songs as poignant songs about aspects of life and of course pretty much all aspects of life are reflected in the Bible. You don't have to be a Christian to enjoy this album and if you're a non-Christian I don't see why you'd need to want Darnielle to be looking at the God-stuff in a cynical way.
Having said that, it has made me think a lot more than pretty much any other album I've listened to for a while.
If you do, you'll get a nice limited edition pack which contains 'The Life Of The World In Flux' a 13 track cd of demos and sketches of the album's tracks, including a couple that didn't make it onto the LP. All intimate, hushed, low key, lovely stuff.
Incidentally I've read some reviews that hint that there is an amount of cynicism in some of the lyrics on the album. Personally I don't really find that. I don't know what Darnielle's religious beliefs are but I just take these songs as poignant songs about aspects of life and of course pretty much all aspects of life are reflected in the Bible. You don't have to be a Christian to enjoy this album and if you're a non-Christian I don't see why you'd need to want Darnielle to be looking at the God-stuff in a cynical way.
Having said that, it has made me think a lot more than pretty much any other album I've listened to for a while.
Friday, 2 October 2009
The Mountain Goats 'The Life Of The World To Come'
John Darnielle has produced at least one new album every two years since 2002 and each one has had a theme and story of its own. This has made each new Mountain Goats album feel like a real event, you know you are going to get more than just an album of six fast songs and six ballads, you can expect a whole new feel, direction and mood.
'The Life of The World To Come' is perhaps the most radical example of this to date. Each song is named after a Bible verse and Darnielle has described the record as "12 lessons I learned from the Bible". I have had a promo copy of this album for the last 10 days and I've listened to little else, I'm now awaiting the arrival of the double vinyl record with such excitement and anticipation that its hard to believe I already know these songs so well.
In terms of sound, TLOTWTC sits somewhere between 'The Sunset Tree' and 'Get Lonely', mainly quiet, sad songs which Darnielle sings in a soft voice, but impecably written and packing a huge emotional punch. The first thing to say is that you should not be put off if you are not a Christian, (I'm not), these songs do not preach, rather they tackle universal issues life, death, regret and love. All these you will find in the Bible, but also in your own life.
After a low key, sparse opening the album hits its stride with 'Psalms 40:2' as loud and passionate as anything from the last Mountain Goats album, the more upbeat 'Heretic Pride' and containing some classic Darnielle wordplay ("feel bad about the things we do/ but not really that bad"), it moves nicely into the jaunty 'Genesis 3:23', a distant cousin of 'Dance Music' and the most poppy song here, a tightly written song describing a return to an old home, wondering about the lives of the people living there now.
More accessible songs follow including 'Philippians 3:20-21' which features some lively percussion. From the centre to the end of the album though, comes a run of beautiful, highly emotive songs which carry real resonance. For example 'Genesis 30:3' is a heart-wide-open love song, sung softly by Darnielle over a piano, the slightest hint of acoustic guitar and at the very end, rolling drums and just a touch of strings. Its gorgeous and stops you in your tracks as you listen to Darnielle sing "I will do what you ask me to do/ because of how I feel about you".
There's just the slightest lift in mood next, with the jangly, acoustic 'Romans 10:9', the song here that most promotes faith, it has a lively chorus and lines like "a kind and loving God won't let my small ship run aground". From here follows another ballad similar to 'Genesis 30:3', sad but full of resolve with lines like "I won't be afraid of anything ever again" and then 'Matthew 25:21' a desperately stark account of a loved one's death from Cancer, heartbreaking and breathtaking...
...as is 'Deuteronomy 2:10', again sung over mournful piano, this time Darnielle's voice reduced at times to a tiny whisper as he sings "I am a flightless bird/ there'll be no more after me", distant drums roll again at the close, making such a slight song sound impossibly dramatic. 'Isaiah 45:23', more upbeat in terms of sound, explores the idea of a spirit being separate from the body as Darnielle sings "I won't get better...but someday I will be free/ cos I am not this body that imprisons me".
The album ends with 'Ezekiel 7 and the Permanent Efficacy of Grace', sung over a sad, timeless piano melody with a feeling of resolution and the refrain "drive til the rain stops/keep driving..". The album ends with the sound of a drum like a heartbeat, life continuing.
Darnielle has made an extraordinary record here. This is one of the saddest, most emotive, but ultimately life affirming albums I have heard in a long time. At the moment I don't want to listen to anything else.
9.8
['The Life Of The World To Come' is out on Monday on cd/2LP. Do yourself a favour and buy this record]
'The Life of The World To Come' is perhaps the most radical example of this to date. Each song is named after a Bible verse and Darnielle has described the record as "12 lessons I learned from the Bible". I have had a promo copy of this album for the last 10 days and I've listened to little else, I'm now awaiting the arrival of the double vinyl record with such excitement and anticipation that its hard to believe I already know these songs so well.
In terms of sound, TLOTWTC sits somewhere between 'The Sunset Tree' and 'Get Lonely', mainly quiet, sad songs which Darnielle sings in a soft voice, but impecably written and packing a huge emotional punch. The first thing to say is that you should not be put off if you are not a Christian, (I'm not), these songs do not preach, rather they tackle universal issues life, death, regret and love. All these you will find in the Bible, but also in your own life.
After a low key, sparse opening the album hits its stride with 'Psalms 40:2' as loud and passionate as anything from the last Mountain Goats album, the more upbeat 'Heretic Pride' and containing some classic Darnielle wordplay ("feel bad about the things we do/ but not really that bad"), it moves nicely into the jaunty 'Genesis 3:23', a distant cousin of 'Dance Music' and the most poppy song here, a tightly written song describing a return to an old home, wondering about the lives of the people living there now.
More accessible songs follow including 'Philippians 3:20-21' which features some lively percussion. From the centre to the end of the album though, comes a run of beautiful, highly emotive songs which carry real resonance. For example 'Genesis 30:3' is a heart-wide-open love song, sung softly by Darnielle over a piano, the slightest hint of acoustic guitar and at the very end, rolling drums and just a touch of strings. Its gorgeous and stops you in your tracks as you listen to Darnielle sing "I will do what you ask me to do/ because of how I feel about you".
There's just the slightest lift in mood next, with the jangly, acoustic 'Romans 10:9', the song here that most promotes faith, it has a lively chorus and lines like "a kind and loving God won't let my small ship run aground". From here follows another ballad similar to 'Genesis 30:3', sad but full of resolve with lines like "I won't be afraid of anything ever again" and then 'Matthew 25:21' a desperately stark account of a loved one's death from Cancer, heartbreaking and breathtaking...
...as is 'Deuteronomy 2:10', again sung over mournful piano, this time Darnielle's voice reduced at times to a tiny whisper as he sings "I am a flightless bird/ there'll be no more after me", distant drums roll again at the close, making such a slight song sound impossibly dramatic. 'Isaiah 45:23', more upbeat in terms of sound, explores the idea of a spirit being separate from the body as Darnielle sings "I won't get better...but someday I will be free/ cos I am not this body that imprisons me".
The album ends with 'Ezekiel 7 and the Permanent Efficacy of Grace', sung over a sad, timeless piano melody with a feeling of resolution and the refrain "drive til the rain stops/keep driving..". The album ends with the sound of a drum like a heartbeat, life continuing.
Darnielle has made an extraordinary record here. This is one of the saddest, most emotive, but ultimately life affirming albums I have heard in a long time. At the moment I don't want to listen to anything else.
9.8
['The Life Of The World To Come' is out on Monday on cd/2LP. Do yourself a favour and buy this record]
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