The Duckworth Lewis Method
Angela Macari O’Looney
The resurrection of what was one of the finest bands in my book, The Electric Light Orchestra or E.L.O. isn’t a thing I’d complain about. It’s exactly what this wonderful collection of songs amounts to for me.
Perhaps nobody thought of it up until now, or perhaps nobody had the courage, but Meteor and Choice music award nominees The Duckworth Lewis Method, have successfully dipped their creative paintbrushes into the archives and picked out something exciting to work into their own melody lines and ideas. Who would have thought of writing about such a thing as Cricket? But even if you knew zilch about it, these excellent songs have humorous lyrics and are performed using exquisitely Posh diction.
Divine Comedy singer Neil Hannon’s unmistakable vocals feature on this CD, harmonies are close and you feel quite indulged, with the outstanding musicianship both he and Thomas Walsh (Pugwash) demonstrate throughout each number.
The Coin Toss
You hear the sounds of a summer’s day, Church bells and children at the beginning of this opening track. Gorgeous piano and synth then come in, to later be joined by an orchestra. Choppy chords accompany Duckworth and Lewis as they introduce each other in song and toss a coin to play a round of Cricket. Stylish hooks on Keys filter in, with a violin riff thrown in for good measure. This taster for what lies ahead is short but sweet, with delightful harmony.
You get Rock mixed with Ragtime in The Age of Revolution. It has a roraing twenties chorus, brass combined with flanger-laden funky guitar. With a jazzy ragtime riff that would make me think of sepia photographs and vintage cars, this is a lovely track!
Vocals in Gentlemen and Players are impressive. This has a wonderful melody, with a really special key change in the chorus. I like the way the chorus is repeated echo-style by backing vocals. Harmony is close. The pace reflects the song itself ; Gentlemen and Players play Sunday afternoon, Gentlemen and players play April, May and June. It’s laid back, with a trickling guitar and a flute airily playing somewhere in the distance.
The Sweet Spot is a bit of a wake-up call after the first tracks. It’s a good old fashioned Rock’n’Roll song, with a sexy strut to it. Piano glissandos, distortion-packed guitar chords and some delicious riffs and hooks throughout, all combine to give it socks.
Very musical comedy, Jiggery Pokery is a satirical piece about an unfair foul being taken by pure Aussi skulduggery in a Cricket match during The Ashes which was played in Old Trafford. I love Neil Hannon’s parody style and some of the witty descriptions; How such a ball could be so bold I don’t know but if you ask me, if it had been a cheese roll, it never would have passed me. This dry wit continues, plus the bouncy rhythmic piano and the melody line that reminds me a little of the B.B.C. cartoon Rhubarb and Custard.
After the hilarity of the previous track, you are treated to a laid back number, with a beautiful melody. Mason on the Boundary involves lovely harmony, piano and sweet guitars. The Orchestra coming in later on lifts the dynamic. Chords in the chorus are lovely. Close harmony for the last couple of lines is spectacular!
Rain Stops play is a wonderful composition with Oboe, Xylophone. It’s a short instrumental and sounds exactly like a Summer Shower, with raindrops tinkling down!
Meeting Mr. Miandad
A feel good sort of song, this has glorious harmony and lead vocals are sung by two voices in different octaves, creating a full sound. With a choppy beat, well placed key changes and a fantastic chorus, it has a very E.L.O. (Mr. Blue Skies) feel. A great sense of adventure in the lyrics plus a totally outstanding arrangement, are what make this my favourite number.
The Nightwatchman
This is a laid back song, with a lovely percussion and piano intro and a fab orchestral arrangement. It involves a subdued verse sung with minor chords, changing to uplifting majors for the chorus. Bass features here too and also there’s a delightful instrumental break, with piano performing a jazz solo. What starts out as a simple piece ends up being an elaborate composition. Neil Hannon’s voice features and he demonstrates his more sober side.
Flatten the Hay is like someone reflecting on his childhood summers, when he went to Arklow or Courtown. Musically it’s a masterpiece, with hooks and riffs that are dreamy, a choppy three four tempo, very like Strawberry Fields by The Beatles. Harpsichord lends to the idea of halcyon days and lost youth. Thomas Walsh’s vocals feature and the harmony once again is beautiful.
Test Match Special
This has a raunchy, distortion laden guitar riff intro with. It has a catchy melody with a slow rock beat and big choppy chords on Synth. Lyrics centre on Cricket. What a surprise! Show me the outfield from a Zeppelin. Show me the coin toss that we never win.
Guitars get to shine here, with bass and drums also featuring big time. A scorching lead solo features and there’s a general good ol’ Rock’n’Roll feel to things.
Last but not least is the grand finale of the album; The End of the Over. A gorgeous melody is played on keys using a Harpsichord effect, while a kind of countdown goes on in the background. Neil Hannon sings a repetitive chorus, Thomas coming in with a line and things wind down to a big piano crescendo. As at the beginning of the adventure, you can hear the church bells and a ball being batted, children and birdsong.
From an interview I heard with Miriam O’Callaghan, this coming together of two funny, but talented geniuses started out as a bit of a novelty.
But in my opinion it’s a journey of subtle key changes, seamless harmonies, top class music arrangements and is extremely entertaining.
Friday, February 26, 2010
Monday, February 22, 2010
Choice music awards finalists
Dark Room Notes
We love you Dark Matter
Angela Macari O’Looney
From Alternative Electronic band Dark Room Notes, this album is cool, cool, cool!
Based in Dublin, this band has been compared to retro electro bands such as Joy Division/ New Order, Interpol. Definitely on my first listen to this album, my old disco days and those hypnotic beats came alive again. I’m not too surprised to discover, that among their influences are The Jam, Kraftwerk, O.M.D, Talking Heads.
Having formed in 2004 in Galway, DRN released their debut EP Dead start program in 2007. We love you Dark Matter is their debut album and was recorded with producer Ciaran Bradshaw in London. The band has had lots of success to date, having toured extensively and performed in major music festivals around Ireland.
Members are Ronan Gaughan – Vocals/Guitars/ Synth/ Programming, Ruairi Ferrie – Guitars/ Vocals/ Synth/ Programming, Arran (Genevieve) Murphy – Synth/ Vocals and Darragh Luke Shanahan – Drums/ Vocals.
This album is an interesting collection of songs, each with a message or story in the lyrics, some quite obscure. But what I particularly enjoy about it is its danceable quality. All choruses consist of repeated lyrics, so that once you hear the melody, you can sing them and they leave an imprint in your memory.
The opening number Each and Every one of us begins with an addictive intro on Synth. This continues throughout the song, with percussion choppy. Ronan’s vocals are seductive as he describes the infatuation side of love; she’s knocking on your door, she loves you even more. There are some philosophical lyrics in this, but it’s the simplistic melody in the chorus that makes it the special track it is; also the way the backing vocals sing a separate refrain alongside the last chorus.
Love like Nicotine
Fast moving and totally all go; this song builds up from quiet notes to an exciting intro with yet another hypnotic riff and a bright, upbeat sound with an explosive chorus which is sung by the entire band.
Arran’s light voice blends well with the powerfulness of Ronan’s punchy style. Guitar comes in and handclapping adds drama. Harmonies and lead vocals all very impressive here and I like the metaphor ‘Love like nicotine’. The sense of being in the power of addiction is reflected in the dramatic melody and rhythm.
The same City awaits me
The guitar in the chorus here is sweet, as is the synth riff. I like the melody line and the way that Ronan uses emphasis in his phrasing of the line This is all I know and I still can’t find another place to go another time. The alternating beat is key here!
Funky notes are played on synth towards the last part of this track, where a rhythmic line is repeated.
The intricate guitar throughout Fast Flashes/ Who is Isabella Moonlight?, is a lovely contrast to the surrounding electronica.
Lets Fight Fires
The passionate chorus in this number is amazing and quite an outburst after the cooler verse, which involves haunting electronic notation.
The stark instrumentation here reflects the sentiments in the lyrics :No we won’t back down and we mean it and if we come back down we’ll be useless. Our wounds taste of bitter sweet molasses and our wounds say lets light fires.
I also love the last verse with the line These four walls are closing in on me, but its o.k. cause there’s a hole in the roof and I can see the stars. What a brilliant piece of poetry!
This hot heat
This rhythmic piece begins with a monotonous riff, but soon it is joined by spectacular discords giving it life. It’s an unusual kind of love song, with mod cons used throughout, such as synth pop programming, excellent beats/percussion and in there is Ruairi’s energetic input of guitar, which for me is the highlight. With his solo you hear Arran’s light vocals and the adorable riff which continues till the end provides a perfect backdrop to everything.
Broken Nail
This has one of those duff duff duff beats, so reminiscent of the good old 80s. It’s definitely Ronan’s ability to almost spit the lyrics out, that puts the real expression into the dispirited lines of the chorus; I come back down yeah trough from peak, a dirty suit that can’t speak. I come back down yeah trough from peak, on hands and knees and battled feet, running till I stumble and fall, another breakdown, yeah I’m awaiting your call.
It has a great melody line. Hooks and melodies are definitely a fine art with this band. Bass notes and drums are fantastic as they thump away. Arran adds harmony in splashes and then for the middle eight, she performs a verse with Ronan coming in duet style. Her lines are so typically female; you broke my heart then you broke a nail, compared to his realistic approach to the love break-up in the song.
Elm is one of my favourite tracks because of the lovely chorus. I enjoy the laid back beat after the other faster ones and the catchy synth riffs, especially the short but sweet break midway through. Ronan’s vocal style is the main feature here however, with his almost percussive way of lyricising.
The bassy intro by Danny Conway in Shake my ceiling and the influx of bashing beats, space age notes on synth and its repetitive chorus, are what gives it charm for me. However I like the way it builds up, with lots of backing vocals and handclapping in the last couple of choruses. My favourite line in it is; You’re my high heel cryptic tic-tac sweet chick. This would be an excellent valentine verse or chat up line!
Treetops
As in each amazing creation by DRN, this last track involves sophisticated electronica and a defining beat. The chorus is sweet and very musical, Ronan’s vocals demonstrated to great advantage. Xylophone is performed by Ciaran Bradshaw. It’s a very haunting song, with a delightful if short guitar solo. Arran provides angelic backing vocals here.
Dark Room notes have had many descriptive reviews. I find that there aren’t enough words in the Thesaurus, to capture what is here on this masterpiece. Suffice to say, it’s like stepping out of Dr. who's time tunnel into the days of New Wave, Depeche Mode, Elvis Costello, Ian Curtis and Bernard Sumner. But with this lead vocalist, we have a new creation which is a hybrid of 80s music, only with a stamp of its own. Ronan Gaughan has his own charm, a way of seducing you with each line of each carefully thought out track.
We love you Dark Matter
Angela Macari O’Looney
From Alternative Electronic band Dark Room Notes, this album is cool, cool, cool!
Based in Dublin, this band has been compared to retro electro bands such as Joy Division/ New Order, Interpol. Definitely on my first listen to this album, my old disco days and those hypnotic beats came alive again. I’m not too surprised to discover, that among their influences are The Jam, Kraftwerk, O.M.D, Talking Heads.
Having formed in 2004 in Galway, DRN released their debut EP Dead start program in 2007. We love you Dark Matter is their debut album and was recorded with producer Ciaran Bradshaw in London. The band has had lots of success to date, having toured extensively and performed in major music festivals around Ireland.
Members are Ronan Gaughan – Vocals/Guitars/ Synth/ Programming, Ruairi Ferrie – Guitars/ Vocals/ Synth/ Programming, Arran (Genevieve) Murphy – Synth/ Vocals and Darragh Luke Shanahan – Drums/ Vocals.
This album is an interesting collection of songs, each with a message or story in the lyrics, some quite obscure. But what I particularly enjoy about it is its danceable quality. All choruses consist of repeated lyrics, so that once you hear the melody, you can sing them and they leave an imprint in your memory.
The opening number Each and Every one of us begins with an addictive intro on Synth. This continues throughout the song, with percussion choppy. Ronan’s vocals are seductive as he describes the infatuation side of love; she’s knocking on your door, she loves you even more. There are some philosophical lyrics in this, but it’s the simplistic melody in the chorus that makes it the special track it is; also the way the backing vocals sing a separate refrain alongside the last chorus.
Love like Nicotine
Fast moving and totally all go; this song builds up from quiet notes to an exciting intro with yet another hypnotic riff and a bright, upbeat sound with an explosive chorus which is sung by the entire band.
Arran’s light voice blends well with the powerfulness of Ronan’s punchy style. Guitar comes in and handclapping adds drama. Harmonies and lead vocals all very impressive here and I like the metaphor ‘Love like nicotine’. The sense of being in the power of addiction is reflected in the dramatic melody and rhythm.
The same City awaits me
The guitar in the chorus here is sweet, as is the synth riff. I like the melody line and the way that Ronan uses emphasis in his phrasing of the line This is all I know and I still can’t find another place to go another time. The alternating beat is key here!
Funky notes are played on synth towards the last part of this track, where a rhythmic line is repeated.
The intricate guitar throughout Fast Flashes/ Who is Isabella Moonlight?, is a lovely contrast to the surrounding electronica.
Lets Fight Fires
The passionate chorus in this number is amazing and quite an outburst after the cooler verse, which involves haunting electronic notation.
The stark instrumentation here reflects the sentiments in the lyrics :No we won’t back down and we mean it and if we come back down we’ll be useless. Our wounds taste of bitter sweet molasses and our wounds say lets light fires.
I also love the last verse with the line These four walls are closing in on me, but its o.k. cause there’s a hole in the roof and I can see the stars. What a brilliant piece of poetry!
This hot heat
This rhythmic piece begins with a monotonous riff, but soon it is joined by spectacular discords giving it life. It’s an unusual kind of love song, with mod cons used throughout, such as synth pop programming, excellent beats/percussion and in there is Ruairi’s energetic input of guitar, which for me is the highlight. With his solo you hear Arran’s light vocals and the adorable riff which continues till the end provides a perfect backdrop to everything.
Broken Nail
This has one of those duff duff duff beats, so reminiscent of the good old 80s. It’s definitely Ronan’s ability to almost spit the lyrics out, that puts the real expression into the dispirited lines of the chorus; I come back down yeah trough from peak, a dirty suit that can’t speak. I come back down yeah trough from peak, on hands and knees and battled feet, running till I stumble and fall, another breakdown, yeah I’m awaiting your call.
It has a great melody line. Hooks and melodies are definitely a fine art with this band. Bass notes and drums are fantastic as they thump away. Arran adds harmony in splashes and then for the middle eight, she performs a verse with Ronan coming in duet style. Her lines are so typically female; you broke my heart then you broke a nail, compared to his realistic approach to the love break-up in the song.
Elm is one of my favourite tracks because of the lovely chorus. I enjoy the laid back beat after the other faster ones and the catchy synth riffs, especially the short but sweet break midway through. Ronan’s vocal style is the main feature here however, with his almost percussive way of lyricising.
The bassy intro by Danny Conway in Shake my ceiling and the influx of bashing beats, space age notes on synth and its repetitive chorus, are what gives it charm for me. However I like the way it builds up, with lots of backing vocals and handclapping in the last couple of choruses. My favourite line in it is; You’re my high heel cryptic tic-tac sweet chick. This would be an excellent valentine verse or chat up line!
Treetops
As in each amazing creation by DRN, this last track involves sophisticated electronica and a defining beat. The chorus is sweet and very musical, Ronan’s vocals demonstrated to great advantage. Xylophone is performed by Ciaran Bradshaw. It’s a very haunting song, with a delightful if short guitar solo. Arran provides angelic backing vocals here.
Dark Room notes have had many descriptive reviews. I find that there aren’t enough words in the Thesaurus, to capture what is here on this masterpiece. Suffice to say, it’s like stepping out of Dr. who's time tunnel into the days of New Wave, Depeche Mode, Elvis Costello, Ian Curtis and Bernard Sumner. But with this lead vocalist, we have a new creation which is a hybrid of 80s music, only with a stamp of its own. Ronan Gaughan has his own charm, a way of seducing you with each line of each carefully thought out track.
Sunday, February 21, 2010
Monday, February 15, 2010
Choice finalist Julie Feeney's Pages CD
Julie Feeney
Pages
Angela Macari O’Looney
This has to be one of the most indulgent and wonderful CD’s I’ve ever heard. Arrangements are absolute masterpieces, melodies hauntingly beautiful and you are treated to a cross between Enya and Annie Lennox to bring you into a kind of Alice and Wonderland world that is hard to pull yourself away from, it’s so fantastic and inspiring
Love is a tricky thing
A beautiful orchestral intro takes you into this song. This musical phrase is repeated during the chorus and uses simple enough notation, but definitely is the making of this number. Julie’s slightly cynical look at love is surrounded by a plucky plethora of strings and wonderful instruments too numerous to identify.
My favourite line in this piece is; or do you still want a kind of adjustable love, that doesn’t infuse and consume your being.
I think we’d all like a design-your-own relationship and even though her melody line is catchy and sweet, her concepts and philosophies are quite accurate.
Impossibly beautiful
The title of this song pretty much describes the song itself. Julie harmonizes to her own voice which is light and airy. There are at least three layers of backing vocals (her own), recorded here and the verse is done minus instruments, to be gradually framed by parts of the orchestra, then eventually in the chorus there’s a sense of fullness with all joining in.
This is gorgeous and has a choppy feel to it. By the end of the song you’re singing the chorus, because it’s so appealing and simple; you’re impossibly beautiful, is that cos I’m waiting? Is that cos I’m looking or is it just cos you are? Julie remixed the vocals in this number and a few others on the album.
Grace is almost prayer like, with a sad melody line and is slow. I like the way in the second chorus, Julie begins the first line with the last word from the first chorus; Grace. It somehow continues the thread of thought and the sense of depth. A song from way back when comes to my mind when I hear this number; The windmills of your mind.
The inclusion of harp (Aisling Ennis) in this piece creates a heavenly feel and dreamy orchestral notes only prove more heavenly!
A lonely trombone takes you into track three Valentine’s Song. This is a moody piece, with dramatic vocals and close harmony, which creates big chords. Trumpet and other delectable instruments surround each line for the rest of it.
Brass section is delightful in One more tune. The lyrics seem to describe an elderly couple, who snap at each other but are still sentimental even though contrary. Julie’s phrasing in the verses lends to the atmosphere and the chorus is catchy. A lovely trumpet riff also helps the effect greatly!
In Myth the orchestral arrangement is outstanding, where mischievous plucked notes on strings keep the verse mysterious sounding. I definitely think of an Annie Lennox number on hearing the mad-hatter style Ha ha, ssshh in the chorus. Celli here played by Ben Rogerson and Richard Angell and double bass; Mercedes Carroll are fabulous and I love the way the dynamics build up, to die down again.
Described on My Space as Alternative/Classical/Pop, Julie’s music definitely can’t be pigeon-holed into a genre as such. It’s a concoction of beautiful notation, with witty lyrics. Her debut album 13 Songs won the Choice Music Award in 2006 and like Pages was a work of genius where she performed all of the singing, played most of the instruments, producing and directing each facet of her masterpiece.
She has done just about everything including conducting the Liverpool Royal Philharmonic Orchestra, performing all over the globe as a choral singer and has taught music education to primary, secondary and university levels.
Mr. Roving Eye guy is a parody-styled number, which describes a man who sounds to me very like Mr. Pernickety from the Mr. Men series. It’s quite a sad truth that is a symptom of 21st century culture, where people search for the perfect partner and get so fussy that they end up never finding love and this funny ditty tells it so well; He found flaws with every girl he’d meet. She had big hands or funny feet.
The chorus is made up entirely of oohs and is addictive. You can’t help but sing along!
A riff on French horn that’s constantly playing throughout the song is what makes this track one of my favourites on this album.
Stay has quite a soothing quality.
Life’s nudge begins with plucked strings, to become a delightful concerto type piece and has an Enya feel to it.
Monster has fast moving Cello throughout, excellent percussion and Julie uses a play of words in the chorus; You remember that you knew what was in the beautiful tree before it you shook, the beautiful tree before it you shook shook.
Nothing to declare is just a sad and simple love song and the last track Knock Knock has yet another dreamy melody line and though deep, it has lovely lyrics; You’ve got dreams to remember you’ve got to believe. You’re Cinderella remember and your knight is here. You might need to shine up that shiny armour or maybe you won’t need to shine it at all.
In the booklet that accompanies Pages Julie tells the story of the long road she travelled to create it. She says she’s a perfectionist and this is quite clear when you hear the result of all her hard work.
The Artwork on the album depicts her feet in dainty red ankle boots. It also shows a picture of her looking up at a colourful playhouse, with jigsaw pieces painted on. But the piece de resistance is when you open up the booklet and see Julie wearing a dress made of her manuscripts, with a gold ribbon laced in corset mode at the back. A little eccentric?
Then again, most geniuses are!
Pages
Angela Macari O’Looney
This has to be one of the most indulgent and wonderful CD’s I’ve ever heard. Arrangements are absolute masterpieces, melodies hauntingly beautiful and you are treated to a cross between Enya and Annie Lennox to bring you into a kind of Alice and Wonderland world that is hard to pull yourself away from, it’s so fantastic and inspiring
Love is a tricky thing
A beautiful orchestral intro takes you into this song. This musical phrase is repeated during the chorus and uses simple enough notation, but definitely is the making of this number. Julie’s slightly cynical look at love is surrounded by a plucky plethora of strings and wonderful instruments too numerous to identify.
My favourite line in this piece is; or do you still want a kind of adjustable love, that doesn’t infuse and consume your being.
I think we’d all like a design-your-own relationship and even though her melody line is catchy and sweet, her concepts and philosophies are quite accurate.
Impossibly beautiful
The title of this song pretty much describes the song itself. Julie harmonizes to her own voice which is light and airy. There are at least three layers of backing vocals (her own), recorded here and the verse is done minus instruments, to be gradually framed by parts of the orchestra, then eventually in the chorus there’s a sense of fullness with all joining in.
This is gorgeous and has a choppy feel to it. By the end of the song you’re singing the chorus, because it’s so appealing and simple; you’re impossibly beautiful, is that cos I’m waiting? Is that cos I’m looking or is it just cos you are? Julie remixed the vocals in this number and a few others on the album.
Grace is almost prayer like, with a sad melody line and is slow. I like the way in the second chorus, Julie begins the first line with the last word from the first chorus; Grace. It somehow continues the thread of thought and the sense of depth. A song from way back when comes to my mind when I hear this number; The windmills of your mind.
The inclusion of harp (Aisling Ennis) in this piece creates a heavenly feel and dreamy orchestral notes only prove more heavenly!
A lonely trombone takes you into track three Valentine’s Song. This is a moody piece, with dramatic vocals and close harmony, which creates big chords. Trumpet and other delectable instruments surround each line for the rest of it.
Brass section is delightful in One more tune. The lyrics seem to describe an elderly couple, who snap at each other but are still sentimental even though contrary. Julie’s phrasing in the verses lends to the atmosphere and the chorus is catchy. A lovely trumpet riff also helps the effect greatly!
In Myth the orchestral arrangement is outstanding, where mischievous plucked notes on strings keep the verse mysterious sounding. I definitely think of an Annie Lennox number on hearing the mad-hatter style Ha ha, ssshh in the chorus. Celli here played by Ben Rogerson and Richard Angell and double bass; Mercedes Carroll are fabulous and I love the way the dynamics build up, to die down again.
Described on My Space as Alternative/Classical/Pop, Julie’s music definitely can’t be pigeon-holed into a genre as such. It’s a concoction of beautiful notation, with witty lyrics. Her debut album 13 Songs won the Choice Music Award in 2006 and like Pages was a work of genius where she performed all of the singing, played most of the instruments, producing and directing each facet of her masterpiece.
She has done just about everything including conducting the Liverpool Royal Philharmonic Orchestra, performing all over the globe as a choral singer and has taught music education to primary, secondary and university levels.
Mr. Roving Eye guy is a parody-styled number, which describes a man who sounds to me very like Mr. Pernickety from the Mr. Men series. It’s quite a sad truth that is a symptom of 21st century culture, where people search for the perfect partner and get so fussy that they end up never finding love and this funny ditty tells it so well; He found flaws with every girl he’d meet. She had big hands or funny feet.
The chorus is made up entirely of oohs and is addictive. You can’t help but sing along!
A riff on French horn that’s constantly playing throughout the song is what makes this track one of my favourites on this album.
Stay has quite a soothing quality.
Life’s nudge begins with plucked strings, to become a delightful concerto type piece and has an Enya feel to it.
Monster has fast moving Cello throughout, excellent percussion and Julie uses a play of words in the chorus; You remember that you knew what was in the beautiful tree before it you shook, the beautiful tree before it you shook shook.
Nothing to declare is just a sad and simple love song and the last track Knock Knock has yet another dreamy melody line and though deep, it has lovely lyrics; You’ve got dreams to remember you’ve got to believe. You’re Cinderella remember and your knight is here. You might need to shine up that shiny armour or maybe you won’t need to shine it at all.
In the booklet that accompanies Pages Julie tells the story of the long road she travelled to create it. She says she’s a perfectionist and this is quite clear when you hear the result of all her hard work.
The Artwork on the album depicts her feet in dainty red ankle boots. It also shows a picture of her looking up at a colourful playhouse, with jigsaw pieces painted on. But the piece de resistance is when you open up the booklet and see Julie wearing a dress made of her manuscripts, with a gold ribbon laced in corset mode at the back. A little eccentric?
Then again, most geniuses are!
Thursday, February 11, 2010
Choice music nominees 'The Swell Season'
The Swell Season
Strict Joy
Angela Macari O’Looney
Irish musician Glen Hansard and Czech singer/Pianist Marketa Irglova merge their contrasting voices and musical creativity, on this soothing and memorable compilation of Folk/ Alternative songs.
The name The Swell Season is derived from Glen’s favourite novel by Josef Skvorecky.
Lead singer from renowned band The Frames, Hansard has had an incredibly successful career to date and the duo also starred together in the film Once. One of their best known songs is Falling slowly, for which they received an academy award in the best original song category. The soundtrack from the film was their second album and following this Glen and Marketa went on to produce successful singles, some which feature on this CD.
My favourite song is The Rain, track four. It begins with just Glen’s vocals and an acoustic guitar, building up to a full sound with strings, piano and a vibrant rhythm.
Marketa’s harmony is close, the melody is magical and the way it seems to develop into a big dynamic sound is exhilarating.
Low Rising
The opening track is soulful, with pretty guitar throughout and rippling piano. Harmony is delicious, as is the ever present baseline. A beautiful guitar solo is performed, trumpet coming in later. With lots of brass, strings and piano this slow song is a treat!
Feeling the pull has a bustling three four tempo, full piano chords creating rhythm and a harmonica which joins in later. This has sweet harmony in the chorus and has a Bob Dylan feel to it.
In these arms is a simple love song, the chorus being the catchiest part with a sentiment repeated; Maybe I was born to hold you in these arms.
I have loved you wrong, performed by Marketa has a throbbing baseline that frames the entire piece. Her voice is light; as she sings this sad love song with it’s sleepy but beautiful melody line. Angelic harmony sung closely behind the chorus, adds to the restful ambience of this track. Piano notes are sweet and Glen comes in singing backing vocals with a haunting refrain repeated ;Every now and then on my mind, yeah on my mind.
Performing on most of the tracks of this album are members of Alternative/Indie/ Rock band The Frames. Colm Mac Con Iomaire – Violin, Joe Doyle – Bass, Robert Bochnik – Guitar and Graham Hopkins – Percussion, contribute to the seamless backdrop of each piece. Also featuring here are guitarist Javier Mas (Leonard Cohen), Pianist Thomas Bartlett (Doveman), plus Chad Taylor Percussionist (Chicago underground duo). Horns are Steven Bernstein and Clark Gayton (Levon Helm’s band).
Fantasy Man
Plucked guitar notes behind choral style la las, plus Marketa’s accent all add to the charm of this pretty piece!
It’s like a slow waltz with its haunting melody, her voice light and clear as she pours each melancholic line out. The lyrics are profound, but involve beautiful metaphors. I like the first verse especially; There’s diamonds growing in the mountains, beneath the pressure of all time. They grow in hope and expectation, waiting for your hands to find. Cause only you could reach inside me and figure out the worth, of a life I lived providing what it was you needed most.
The chorus involves an unusual key change within it, as it goes from sweet majors to dramatic minors and is breathtakingly beautiful, as gradually more instruments are introduced. Then for the final part you are taken back to the simple sung intro with only the plucked guitar.
Paper Cup
James Blunt/ Eric Clapton come to mind for me in this pensive song, performed by Glen. It is romantic and I find the Spanish style guitar solo impressive. It’s a sleepy number, but really romantic with a barely there beat tapped out and a touch of keys, with percussion but a whisper!
Two Tongues
The first line here is ballad-like, but it then picks up to a choppy tempo. Close harmony is delectable, as the male and female vocals blend to perfection. Glen and Marketa become like one instrument playing stunning chords and discords, with piano riffs that are the icing on the cake!
High horses
Glen does a count in. Then this number bursts into being!
It’s a song I was singing after my second listen because it’s so sweet and catchy. Big piano chords, a lively feel to it and the addition of strings later on, all lend to the atmosphere. One minute you’re hearing a rhythmic verse, the next things seem to go very quiet, with just vocals singing a lonely line.
An explosive Gospel style choral refrain is performed at the end, which is haunting but very special.
Love that Conquers is so like a Simon and Garfunkel song, but this is meant in a complimentary way. I love the sustained note at the end of each line, with that slow, jazzy waltz tempo going on throughout. Javier Mas can be heard here, throwing in his tuppence worth to delight the senses. He performs exceptional flourishes of flamenco style guitar which fits in well in this uplifting piece.
The mood in The Verb is very gloomy, but the chorus is lovely with a simple but sad melody line. It seems to be about relationship struggle and the sentiments in the words are definitely reflected in the sorrowful yet gorgeous chords and notation. My favourite part here is the middle eight, with harmony just right. There’s a lovely music break just before the last chorus, where a refrain sung in the background lifts everything right up. It’s not all doom and gloom!
Last but not least is the final track on Strict Joy, which has a great title; Back Broke. Glen sings this quiet, but adorable love song. His voice is soothing, yet things build up with backing vocals joining in and piano. Towards the last chorus, strings and Javier’s input of Spanish guitar, bring this wonderfully sentimental song to a gentle crescendo. The chorus definitely describes a feeling that people in love can relate to; Back broke and dancing, ‘cause you’re here, ‘cause you’re here with me.
So far in 2010, The Swell Season have already clocked up a U.K. tour and an appearance on David Letterman’s show in Radio City Music Hall, New York, where apparently they busked outside to warm up, with Josh Ritter in tow. That must have been great fun!
The list of exciting antics goes on and with this really delightful CD, they now join the shortlist for the Choice Music awards. I will be watching and listening with interest!
Strict Joy
Angela Macari O’Looney
Irish musician Glen Hansard and Czech singer/Pianist Marketa Irglova merge their contrasting voices and musical creativity, on this soothing and memorable compilation of Folk/ Alternative songs.
The name The Swell Season is derived from Glen’s favourite novel by Josef Skvorecky.
Lead singer from renowned band The Frames, Hansard has had an incredibly successful career to date and the duo also starred together in the film Once. One of their best known songs is Falling slowly, for which they received an academy award in the best original song category. The soundtrack from the film was their second album and following this Glen and Marketa went on to produce successful singles, some which feature on this CD.
My favourite song is The Rain, track four. It begins with just Glen’s vocals and an acoustic guitar, building up to a full sound with strings, piano and a vibrant rhythm.
Marketa’s harmony is close, the melody is magical and the way it seems to develop into a big dynamic sound is exhilarating.
Low Rising
The opening track is soulful, with pretty guitar throughout and rippling piano. Harmony is delicious, as is the ever present baseline. A beautiful guitar solo is performed, trumpet coming in later. With lots of brass, strings and piano this slow song is a treat!
Feeling the pull has a bustling three four tempo, full piano chords creating rhythm and a harmonica which joins in later. This has sweet harmony in the chorus and has a Bob Dylan feel to it.
In these arms is a simple love song, the chorus being the catchiest part with a sentiment repeated; Maybe I was born to hold you in these arms.
I have loved you wrong, performed by Marketa has a throbbing baseline that frames the entire piece. Her voice is light; as she sings this sad love song with it’s sleepy but beautiful melody line. Angelic harmony sung closely behind the chorus, adds to the restful ambience of this track. Piano notes are sweet and Glen comes in singing backing vocals with a haunting refrain repeated ;Every now and then on my mind, yeah on my mind.
Performing on most of the tracks of this album are members of Alternative/Indie/ Rock band The Frames. Colm Mac Con Iomaire – Violin, Joe Doyle – Bass, Robert Bochnik – Guitar and Graham Hopkins – Percussion, contribute to the seamless backdrop of each piece. Also featuring here are guitarist Javier Mas (Leonard Cohen), Pianist Thomas Bartlett (Doveman), plus Chad Taylor Percussionist (Chicago underground duo). Horns are Steven Bernstein and Clark Gayton (Levon Helm’s band).
Fantasy Man
Plucked guitar notes behind choral style la las, plus Marketa’s accent all add to the charm of this pretty piece!
It’s like a slow waltz with its haunting melody, her voice light and clear as she pours each melancholic line out. The lyrics are profound, but involve beautiful metaphors. I like the first verse especially; There’s diamonds growing in the mountains, beneath the pressure of all time. They grow in hope and expectation, waiting for your hands to find. Cause only you could reach inside me and figure out the worth, of a life I lived providing what it was you needed most.
The chorus involves an unusual key change within it, as it goes from sweet majors to dramatic minors and is breathtakingly beautiful, as gradually more instruments are introduced. Then for the final part you are taken back to the simple sung intro with only the plucked guitar.
Paper Cup
James Blunt/ Eric Clapton come to mind for me in this pensive song, performed by Glen. It is romantic and I find the Spanish style guitar solo impressive. It’s a sleepy number, but really romantic with a barely there beat tapped out and a touch of keys, with percussion but a whisper!
Two Tongues
The first line here is ballad-like, but it then picks up to a choppy tempo. Close harmony is delectable, as the male and female vocals blend to perfection. Glen and Marketa become like one instrument playing stunning chords and discords, with piano riffs that are the icing on the cake!
High horses
Glen does a count in. Then this number bursts into being!
It’s a song I was singing after my second listen because it’s so sweet and catchy. Big piano chords, a lively feel to it and the addition of strings later on, all lend to the atmosphere. One minute you’re hearing a rhythmic verse, the next things seem to go very quiet, with just vocals singing a lonely line.
An explosive Gospel style choral refrain is performed at the end, which is haunting but very special.
Love that Conquers is so like a Simon and Garfunkel song, but this is meant in a complimentary way. I love the sustained note at the end of each line, with that slow, jazzy waltz tempo going on throughout. Javier Mas can be heard here, throwing in his tuppence worth to delight the senses. He performs exceptional flourishes of flamenco style guitar which fits in well in this uplifting piece.
The mood in The Verb is very gloomy, but the chorus is lovely with a simple but sad melody line. It seems to be about relationship struggle and the sentiments in the words are definitely reflected in the sorrowful yet gorgeous chords and notation. My favourite part here is the middle eight, with harmony just right. There’s a lovely music break just before the last chorus, where a refrain sung in the background lifts everything right up. It’s not all doom and gloom!
Last but not least is the final track on Strict Joy, which has a great title; Back Broke. Glen sings this quiet, but adorable love song. His voice is soothing, yet things build up with backing vocals joining in and piano. Towards the last chorus, strings and Javier’s input of Spanish guitar, bring this wonderfully sentimental song to a gentle crescendo. The chorus definitely describes a feeling that people in love can relate to; Back broke and dancing, ‘cause you’re here, ‘cause you’re here with me.
So far in 2010, The Swell Season have already clocked up a U.K. tour and an appearance on David Letterman’s show in Radio City Music Hall, New York, where apparently they busked outside to warm up, with Josh Ritter in tow. That must have been great fun!
The list of exciting antics goes on and with this really delightful CD, they now join the shortlist for the Choice Music awards. I will be watching and listening with interest!
Tuesday, February 9, 2010
Monday, February 8, 2010
Lynda Lucas
Lynda Lucas demo
Angela Macari O’Looney
Lynda Lucas has been on the singer/songwriter circuit since 1994. In 2000 she joined Dublin Bluegrass band The Cherry Pickers and appeared in high profile venues such as Vicar St., Thomas Reads, The Baggot Inn and Whelan’s.
Lynda has an impressive repertoire, which includes covers from Gram Parsons, Emmy Lou Harris, Hank Williams and The Carter Family. On this demo there are samples of her own songwriting skills, which are quite special and involve wonderful chords and charming melodies.
In 2009 she travelled to Nashville, where she did some recording and is currently working on her debut album. This velvet voiced lady has an unbelievable range and plucks her guitar with the touch of someone who is in love with her music.
Rusty Rings
A sad song, this begins with just acoustic guitar in the first verse. Lyrics are poignant as Lynda tells the story. The melody line is beautiful, with major to minors that add to the sense of sorrow. An electric guitar comes in with sliding notes, as she sings this number which really showcases her voice. Patsy Cline is mentioned in the lyrics; A singer I’d definitely compare Lynda with, along with the likes of Crystal Gale and Emmy Lou.
Walk Away
Yet another slow trickling song, this is one of Lynda’s best numbers and was written by her friend Jane Stradwick. It features electric and acoustic guitars once again and has an amazing melody line. I like the lyrics, which tell a very real life tale; Everyone is looking at us tonight, saying we look just right. Oh what a lie! Hand in hand and both gritting our teeth, hiding what’s underneath and I don’t know why.
Her delivery here is everything, plus the sliding guitar notes which help the mood.
Ode to Someone
A song about an aspiring singing star (Alice), who headed for the bright lights, but never made the grade, this track is a tribute and goes on to tell her sad story;Well she traded her sweet life for a cheap glass of wine and she never got to see her name in lights.
It gets even sadder, as Lynda sings this mournful lament about Alice’s passing. Now it’s been twenty years since Alice left her friends and kin back home. The same old sea it carries home her bones. And all the people said how sad it was, the way she had to go and there’s a crimson sky lights up for you tonight. Though sad, this track is sweet and sung from the heart!
Things become a bit more upbeat for track four; Thinking of you (written by Seamus Moran for Dervish). Lynda starts this with a chorus sung slowly. It then picks up with banjo and mandolin joining in. Marion McEvoy on mandolin does a sweet solo and backing Vox. A key change for the last chorus is just perfect, with that clarity that Ms. Lucas has in her voice making it memorable.
A slinky beat in The Flying Burrito Brothers cover High Fashion Queen makes me feel like jumping up and doing a line dance. Harmony gives this song a little pinch of spice. This track features Gerry Fitzpatrick on Dubro and adds to the sound, which also includes sliding guitar notes. It’s another cheerful track after the earlier moody ones.
Weeping Willow, performed with members of The Cherry Pickers and Lynda doing backing vocals is a country number with a ‘Hillbilly’ feel. But the chorus is fun and easy to sing along to. I like the short but sweet guitar solo here.
Lovesick Blues (Hank Williams cover)
With an acoustic intro and a very bluegrass feel to it, this gorgeous number is addictive. Lynda’s voice glides effortlessly over the candy sweet melody, going from higher to lower octaves in a really seductive style. A closely sung harmony comes in, slinky guitar chords strumming out the rhythm and it sounds like she adores performing this song, which doesn’t surprise me. With a wonderful baseline featuring in this last track too, it is by far the catchiest of the entire CD.
Angela Macari O’Looney
Lynda Lucas has been on the singer/songwriter circuit since 1994. In 2000 she joined Dublin Bluegrass band The Cherry Pickers and appeared in high profile venues such as Vicar St., Thomas Reads, The Baggot Inn and Whelan’s.
Lynda has an impressive repertoire, which includes covers from Gram Parsons, Emmy Lou Harris, Hank Williams and The Carter Family. On this demo there are samples of her own songwriting skills, which are quite special and involve wonderful chords and charming melodies.
In 2009 she travelled to Nashville, where she did some recording and is currently working on her debut album. This velvet voiced lady has an unbelievable range and plucks her guitar with the touch of someone who is in love with her music.
Rusty Rings
A sad song, this begins with just acoustic guitar in the first verse. Lyrics are poignant as Lynda tells the story. The melody line is beautiful, with major to minors that add to the sense of sorrow. An electric guitar comes in with sliding notes, as she sings this number which really showcases her voice. Patsy Cline is mentioned in the lyrics; A singer I’d definitely compare Lynda with, along with the likes of Crystal Gale and Emmy Lou.
Walk Away
Yet another slow trickling song, this is one of Lynda’s best numbers and was written by her friend Jane Stradwick. It features electric and acoustic guitars once again and has an amazing melody line. I like the lyrics, which tell a very real life tale; Everyone is looking at us tonight, saying we look just right. Oh what a lie! Hand in hand and both gritting our teeth, hiding what’s underneath and I don’t know why.
Her delivery here is everything, plus the sliding guitar notes which help the mood.
Ode to Someone
A song about an aspiring singing star (Alice), who headed for the bright lights, but never made the grade, this track is a tribute and goes on to tell her sad story;Well she traded her sweet life for a cheap glass of wine and she never got to see her name in lights.
It gets even sadder, as Lynda sings this mournful lament about Alice’s passing. Now it’s been twenty years since Alice left her friends and kin back home. The same old sea it carries home her bones. And all the people said how sad it was, the way she had to go and there’s a crimson sky lights up for you tonight. Though sad, this track is sweet and sung from the heart!
Things become a bit more upbeat for track four; Thinking of you (written by Seamus Moran for Dervish). Lynda starts this with a chorus sung slowly. It then picks up with banjo and mandolin joining in. Marion McEvoy on mandolin does a sweet solo and backing Vox. A key change for the last chorus is just perfect, with that clarity that Ms. Lucas has in her voice making it memorable.
A slinky beat in The Flying Burrito Brothers cover High Fashion Queen makes me feel like jumping up and doing a line dance. Harmony gives this song a little pinch of spice. This track features Gerry Fitzpatrick on Dubro and adds to the sound, which also includes sliding guitar notes. It’s another cheerful track after the earlier moody ones.
Weeping Willow, performed with members of The Cherry Pickers and Lynda doing backing vocals is a country number with a ‘Hillbilly’ feel. But the chorus is fun and easy to sing along to. I like the short but sweet guitar solo here.
Lovesick Blues (Hank Williams cover)
With an acoustic intro and a very bluegrass feel to it, this gorgeous number is addictive. Lynda’s voice glides effortlessly over the candy sweet melody, going from higher to lower octaves in a really seductive style. A closely sung harmony comes in, slinky guitar chords strumming out the rhythm and it sounds like she adores performing this song, which doesn’t surprise me. With a wonderful baseline featuring in this last track too, it is by far the catchiest of the entire CD.
Monday, February 1, 2010
A CD with a difference
James Guilmartin
Intro into Exile
Angela Macari O’Looney
How lovely to come across a person who doesn’t conform to any music genre whatsoever, but puts his own personal mark on music history, by introducing a soothing and unflinchingly applied bouquet to the hum drum predictable, that has become the order of the day. James Guilmartin and his accomplices have put together not a compilation of songs, but a whole experience whereby one is massaged by an array of instruments and some moody melodies, with a few unexpected jazzy upbeats thrown in for sheer mischief. A true artist can achieve this and having had a few listens to his debut album, I’m in no doubt that this young man has a very unique power.
Influences include such greats as James Buckley, Leonard Cohen, Kate Bush, The Clash, and The Beatles. On Bass and Keys – Rama Bloc, Drums/ Bass – Enda Roche, Track 6 drums – Dave Lawless and Phil Daly – Bass, Christophe Capwell – Violin, Aidan – Clarinet.
James Gulmartin performs several instruments on this album, from Didgeridoo, Djembe, guitars and Keys to chest beats, singing bowls and whatever else he gets his hands on. I think one can safely surmise his music is a form of Experimental Rock, if any description is possible.
On my first listen to Intro into Exile, I felt bewildered and confused and clear out of ideas to describe these eclectic pieces. However, young James left some words of wisdom on the back of the booklet inside. His tip; the higher you climb, the greater the view helped me.
Breadcrumb Trail
Beginning with electric guitar chords and busy bass, this track involves soothing vocals backed by distortion laden, rock guitars. Some wonderful instrumentation is going on throughout, with masterful riffs that command the listener and won’t let you out of their power. Harmony is almost like a monastic choir in the chanted chorus, surrounded by Zeppelin/Nirvana-styled lead and an amazing baseline.
Untimely Minds
Flamenco-style guitar chords take you into this three four time track. Chord combinations are appealing, along with key changes to create mood. I particularly love the bassy tones and find the melody line stimulating. Further into this track a harmonica is introduced, plus cymbals which add emphasis to the drama in the lyrics about a vixen with her cubs, which are in danger from the hunter and his son. The sense of danger comes through in the notation, as the hunter warns his son in the same way as the vixen; hold my hand dear, for the storm is rising. Your not strong yet, but you’re trying.
All the dogs are howling their own tune
This jazz waltz is blissful, played on a guitar with a beautiful tone and I detect a second guitar in there which makes it extra special. It has a seductive melody and delicious lyrics; A little wine, to soothe my nights, a little flower for me to inspire. For all those crazy moments when you think you’re alone. For all those crazy moments, right before your mind has gone. I like how the pace alters for an instrumental break later on in this number. Crashing cymbals, lots of distortion in the guitars and a repeated riff come in, with faint vocals to build up to a dramatic crescendo. It just winds down with the original two guitars.
Come by the fire has a trickling acoustic guitar intro, close harmony in the chorus which is sung like a mantra, James singing the line; Come by the fire it is burning in a kind of monotone. It’s quite hypnotic music and very powerful, but certainly is an acquired taste. Guitar does a haunting lead solo, with lots of note bending and eerie slides.
Slow and sweet, but a delightful piece is Wet black velvet blues. Guitars are jazzy and lazy. A clarinet adds to the wonderful atmosphere here, harmony is sung behind James’s excellent bluesy vocals as he pours out the sorrowful story;40 smokes and 10 coffees through, I still don’t know what to do. Chords are lovely and help create the subdued, drowsy atmosphere.
I find wise up very dreary, with a sense of tragedy in the melody that wouldn’t exactly cheer a person up during a recession. However it has some very interesting discords in the harmony and a marvellous arrangement. It has a complex chorus and is like a concerto of both electric and acoustic, with throbbing percussion, building up to a full sound that seeps into your soul.
In Naked sacred son the chords are really pretty, as trickling acoustic guitar and percussion give it a real sense of movement. Harmony seems layered here, adding greatly to the overall piece.
By far the most outstanding song on this whole album for me has to be track seven, Gypsy love song. Brushes are expertly drumming out the beat, while a slinky song unfolds. There’s an exotic quality to this number, with a riff played softly behind each line of the chorus. Easy, laid back and totally adorable, it comprises a simple melody and a really cool performance from James.
Spirit of Haum
Very abstract, this song has mournful lyrics. Harmony is close, vocals brilliant and the rhythmic acoustic guitars and eclectic feel make it quite soothing.
Long Path
This is a very long song, so it is well named. It’s yet another haunting piece of music, with big sustained notes framing lovely plucked guitars. It’s a person who is reflecting on his life, loves and experiences. Lyrics are deep and regretful ; There was a sun setting deep behind his eyes. There was a loaded gun strapped to his mind. There was a kindred lady who brushed a loving smile. She said ‘where you going honey? Why don’t you stay for a while?’
The last track is Nightly blossom, a chant which is really pretty. An array of voices, almost choir-like repeat a line ;Her light is on me now. Lots of interesting instruments gradually join in as the dynamic increases, a bongo drum beating out a soft rhythm. This extra track of the album has a weird ending, with James singing a chant backwards.Sounds like Martian! It drags on a bit and is a bit creepy.
Hearing this album is like going on a strange trip. The title Intro into Exile is very apt. But it’s worth the journey when you find a few really beautiful jewels among the dowdy, sombre dirges as I did. The CD itself reflects its contents in that it is quite mysterious looking, coloured in sepia tones and seriously abstract.
Intro into Exile
Angela Macari O’Looney
How lovely to come across a person who doesn’t conform to any music genre whatsoever, but puts his own personal mark on music history, by introducing a soothing and unflinchingly applied bouquet to the hum drum predictable, that has become the order of the day. James Guilmartin and his accomplices have put together not a compilation of songs, but a whole experience whereby one is massaged by an array of instruments and some moody melodies, with a few unexpected jazzy upbeats thrown in for sheer mischief. A true artist can achieve this and having had a few listens to his debut album, I’m in no doubt that this young man has a very unique power.
Influences include such greats as James Buckley, Leonard Cohen, Kate Bush, The Clash, and The Beatles. On Bass and Keys – Rama Bloc, Drums/ Bass – Enda Roche, Track 6 drums – Dave Lawless and Phil Daly – Bass, Christophe Capwell – Violin, Aidan – Clarinet.
James Gulmartin performs several instruments on this album, from Didgeridoo, Djembe, guitars and Keys to chest beats, singing bowls and whatever else he gets his hands on. I think one can safely surmise his music is a form of Experimental Rock, if any description is possible.
On my first listen to Intro into Exile, I felt bewildered and confused and clear out of ideas to describe these eclectic pieces. However, young James left some words of wisdom on the back of the booklet inside. His tip; the higher you climb, the greater the view helped me.
Breadcrumb Trail
Beginning with electric guitar chords and busy bass, this track involves soothing vocals backed by distortion laden, rock guitars. Some wonderful instrumentation is going on throughout, with masterful riffs that command the listener and won’t let you out of their power. Harmony is almost like a monastic choir in the chanted chorus, surrounded by Zeppelin/Nirvana-styled lead and an amazing baseline.
Untimely Minds
Flamenco-style guitar chords take you into this three four time track. Chord combinations are appealing, along with key changes to create mood. I particularly love the bassy tones and find the melody line stimulating. Further into this track a harmonica is introduced, plus cymbals which add emphasis to the drama in the lyrics about a vixen with her cubs, which are in danger from the hunter and his son. The sense of danger comes through in the notation, as the hunter warns his son in the same way as the vixen; hold my hand dear, for the storm is rising. Your not strong yet, but you’re trying.
All the dogs are howling their own tune
This jazz waltz is blissful, played on a guitar with a beautiful tone and I detect a second guitar in there which makes it extra special. It has a seductive melody and delicious lyrics; A little wine, to soothe my nights, a little flower for me to inspire. For all those crazy moments when you think you’re alone. For all those crazy moments, right before your mind has gone. I like how the pace alters for an instrumental break later on in this number. Crashing cymbals, lots of distortion in the guitars and a repeated riff come in, with faint vocals to build up to a dramatic crescendo. It just winds down with the original two guitars.
Come by the fire has a trickling acoustic guitar intro, close harmony in the chorus which is sung like a mantra, James singing the line; Come by the fire it is burning in a kind of monotone. It’s quite hypnotic music and very powerful, but certainly is an acquired taste. Guitar does a haunting lead solo, with lots of note bending and eerie slides.
Slow and sweet, but a delightful piece is Wet black velvet blues. Guitars are jazzy and lazy. A clarinet adds to the wonderful atmosphere here, harmony is sung behind James’s excellent bluesy vocals as he pours out the sorrowful story;40 smokes and 10 coffees through, I still don’t know what to do. Chords are lovely and help create the subdued, drowsy atmosphere.
I find wise up very dreary, with a sense of tragedy in the melody that wouldn’t exactly cheer a person up during a recession. However it has some very interesting discords in the harmony and a marvellous arrangement. It has a complex chorus and is like a concerto of both electric and acoustic, with throbbing percussion, building up to a full sound that seeps into your soul.
In Naked sacred son the chords are really pretty, as trickling acoustic guitar and percussion give it a real sense of movement. Harmony seems layered here, adding greatly to the overall piece.
By far the most outstanding song on this whole album for me has to be track seven, Gypsy love song. Brushes are expertly drumming out the beat, while a slinky song unfolds. There’s an exotic quality to this number, with a riff played softly behind each line of the chorus. Easy, laid back and totally adorable, it comprises a simple melody and a really cool performance from James.
Spirit of Haum
Very abstract, this song has mournful lyrics. Harmony is close, vocals brilliant and the rhythmic acoustic guitars and eclectic feel make it quite soothing.
Long Path
This is a very long song, so it is well named. It’s yet another haunting piece of music, with big sustained notes framing lovely plucked guitars. It’s a person who is reflecting on his life, loves and experiences. Lyrics are deep and regretful ; There was a sun setting deep behind his eyes. There was a loaded gun strapped to his mind. There was a kindred lady who brushed a loving smile. She said ‘where you going honey? Why don’t you stay for a while?’
The last track is Nightly blossom, a chant which is really pretty. An array of voices, almost choir-like repeat a line ;Her light is on me now. Lots of interesting instruments gradually join in as the dynamic increases, a bongo drum beating out a soft rhythm. This extra track of the album has a weird ending, with James singing a chant backwards.Sounds like Martian! It drags on a bit and is a bit creepy.
Hearing this album is like going on a strange trip. The title Intro into Exile is very apt. But it’s worth the journey when you find a few really beautiful jewels among the dowdy, sombre dirges as I did. The CD itself reflects its contents in that it is quite mysterious looking, coloured in sepia tones and seriously abstract.
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