The Album Review Club - Week #196 (page 1316) - ???? - ????

[Kippaxpete]

FOP

And proud to be one! Old punks never die... they just stand at the back.

 

[Coatigan]

You know what.. it would be irresponsible of me not to!



Here, have some free goosebumps. The video is completely irrelevant but probably the broadest format to share.

 

[Saddleworth2]

You know what.. it would be irresponsible of me not to!



Here, have some free goosebumps. The video is completely irrelevant but probably the broadest format to share.

Very nice mate.

 

[RobMCFC]

Arc Light - Lau

I like the fiddle and I like the accordion; even better when they are paired together to create absorbing melodies, so this album has a sound that I love from the off.

“The Burrian” is a fantastic instrumental that makes great use of both instruments to create a stirring sound. This is a fabulous track to showcase what Lau are capable of and makes a great start to the album. “Winter Moon” sets a nice voice against the instruments to create a short by satisfying song, and “Horizontigo” starts with what feels like a lovely little pop refrain (more on this later) and develops into a melodic piece.

“Salty Boys” is great. Starts strong and has the sound and rhythm of a sea shanty (without the words). “Banks of Marble” continues with the impressive arrangements and rhythms but adds lyrics, and I do love a story song that references the sea, the land and the struggles of the common man. This is my favourite track on the album.

The remaining songs are variations on what has gone before: “Stephens” contains more intricate playing but is a little long for my liking whilst I enjoyed the accordion being a bit further up in the mix on “Frank and Flo’s”.

One criteria that I judge albums by is whether they have a consistent sound track-to-track, and Arc Light certainly does. There are no drastic changes in production or the instruments, it’s the sound of the same band producing great music in the studio.

It should also be noted how deep and involving the sound is without the need for either drums or bass. It’s testament to the skill of the three musicians that the guitar, accordion and fiddle, with occasional pedal steel, is enough to carry the entire album and the keep the music engaging.

Random comment: The industrial look of the album cover is at odds with the earthy music within.

Without words on many of the songs, they can feel a bit indistinct from one another, but I’m sure that’s an issue that repeated listens would cure. Easily an 8/10.

So why not a 9 or a 10? Well, one thing that listening to 150 albums with you lot has helped with is helping narrow down what I like and what I love. In the past, I’d have said that I love blues and folk and country. Whilst that’s true, I‘ve worked out that I don’t necessarily like things in their purest form. I like it when the production and sound and strays from the template a little without getting too gimmicky.

Whilst I like accordion and fiddle, I want to hear them deployed to give a more traditional rock & pop setting a different feel. I don’t necessarily need to hear them in an old-time folk setting. I’m not saying that this is the case here, but I think that these performances lack the traditional hooks that my ears are attuned to. From a purely personal point of view, I’d love to hear these instrumental pieces as stretched out movements in a more standard verse-chorus-bridge arrangement. “Banks of Marble” does put it all together in one song that is very satisfying to my ears and if there were a few more songs like this, it would have been a 9. But that’s not an issue for the band, it’s purely my personal view.

Great selection that I thoroughly enjoyed listening to, thanks @Coatigan. This is what I mean by grit – an earthy sound that is without gimmicks and sounds like somebody could be sitting next to you playing it.

 

[Coatigan]

Arc Light - Lau

I like the fiddle and I like the accordion; even better when they are paired together to create absorbing melodies, so this album has a sound that I love from the off.

“The Burrian” is a fantastic instrumental that makes great use of both instruments to create a stirring sound. This is a fabulous track to showcase what Lau are capable of and makes a great start to the album. “Winter Moon” sets a nice voice against the instruments to create a short by satisfying song, and “Horizontigo” starts with what feels like a lovely little pop refrain (more on this later) and develops into a melodic piece.

“Salty Boys” is great. Starts strong and has the sound and rhythm of a sea shanty (without the words). “Banks of Marble” continues with the impressive arrangements and rhythms but adds lyrics, and I do love a story song that references the sea, the land and the struggles of the common man. This is my favourite track on the album.

The remaining songs are variations on what has gone before: “Stephens” contains more intricate playing but is a little long for my liking whilst I enjoyed the accordion being a bit further up in the mix on “Frank and Flo’s”.

One criteria that I judge albums by is whether they have a consistent sound track-to-track, and Arc Light certainly does. There are no drastic changes in production or the instruments, it’s the sound of the same band producing great music in the studio.

It should also be noted how deep and involving the sound is without the need for either drums or bass. It’s testament to the skill of the three musicians that the guitar, accordion and fiddle, with occasional pedal steel, is enough to carry the entire album and the keep the music engaging.

Random comment: The industrial look of the album cover is at odds with the earthy music within.

Without words on many of the songs, they can feel a bit indistinct from one another, but I’m sure that’s an issue that repeated listens would cure. Easily an 8/10.

So why not a 9 or a 10? Well, one thing that listening to 150 albums with you lot has helped with is helping narrow down what I like and what I love. In the past, I’d have said that I love blues and folk and country. Whilst that’s true, I‘ve worked out that I don’t necessarily like things in their purest form. I like it when the production and sound and strays from the template a little without getting too gimmicky.

Whilst I like accordion and fiddle, I want to hear them deployed to give a more traditional rock & pop setting a different feel. I don’t necessarily need to hear them in an old-time folk setting. I’m not saying that this is the case here, but I think that these performances lack the traditional hooks that my ears are attuned to. From a purely personal point of view, I’d love to hear these instrumental pieces as stretched out movements in a more standard verse-chorus-bridge arrangement. “Banks of Marble” does put it all together in one song that is very satisfying to my ears and if there were a few more songs like this, it would have been a 9. But that’s not an issue for the band, it’s purely my personal view.

Great selection that I thoroughly enjoyed listening to, thanks @Coatigan. This is what I mean by grit – an earthy sound that is without gimmicks and sounds like somebody could be sitting next to you playing it.

Well I say that's your best review yet on this thread! ;)

 

[mrbelfry]

Arc Light - Lau

I like the fiddle and I like the accordion; even better when they are paired together to create absorbing melodies, so this album has a sound that I love from the off.

“The Burrian” is a fantastic instrumental that makes great use of both instruments to create a stirring sound. This is a fabulous track to showcase what Lau are capable of and makes a great start to the album. “Winter Moon” sets a nice voice against the instruments to create a short by satisfying song, and “Horizontigo” starts with what feels like a lovely little pop refrain (more on this later) and develops into a melodic piece.

“Salty Boys” is great. Starts strong and has the sound and rhythm of a sea shanty (without the words). “Banks of Marble” continues with the impressive arrangements and rhythms but adds lyrics, and I do love a story song that references the sea, the land and the struggles of the common man. This is my favourite track on the album.

The remaining songs are variations on what has gone before: “Stephens” contains more intricate playing but is a little long for my liking whilst I enjoyed the accordion being a bit further up in the mix on “Frank and Flo’s”.

One criteria that I judge albums by is whether they have a consistent sound track-to-track, and Arc Light certainly does. There are no drastic changes in production or the instruments, it’s the sound of the same band producing great music in the studio.

It should also be noted how deep and involving the sound is without the need for either drums or bass. It’s testament to the skill of the three musicians that the guitar, accordion and fiddle, with occasional pedal steel, is enough to carry the entire album and the keep the music engaging.

Random comment: The industrial look of the album cover is at odds with the earthy music within.

Without words on many of the songs, they can feel a bit indistinct from one another, but I’m sure that’s an issue that repeated listens would cure. Easily an 8/10.

So why not a 9 or a 10? Well, one thing that listening to 150 albums with you lot has helped with is helping narrow down what I like and what I love. In the past, I’d have said that I love blues and folk and country. Whilst that’s true, I‘ve worked out that I don’t necessarily like things in their purest form. I like it when the production and sound and strays from the template a little without getting too gimmicky.

Whilst I like accordion and fiddle, I want to hear them deployed to give a more traditional rock & pop setting a different feel. I don’t necessarily need to hear them in an old-time folk setting. I’m not saying that this is the case here, but I think that these performances lack the traditional hooks that my ears are attuned to. From a purely personal point of view, I’d love to hear these instrumental pieces as stretched out movements in a more standard verse-chorus-bridge arrangement. “Banks of Marble” does put it all together in one song that is very satisfying to my ears and if there were a few more songs like this, it would have been a 9. But that’s not an issue for the band, it’s purely my personal view.

Great selection that I thoroughly enjoyed listening to, thanks @Coatigan. This is what I mean by grit – an earthy sound that is without gimmicks and sounds like somebody could be sitting next to you playing it.

I'm glad you mentioned the album cover. It seems to have no resemblance to the music at all. It had me expecting 4 to the floor kick drum and techno beats. I'm glad we didn't get 10 variations of Cotton Eye Joe. I would love to know the thinking behind it because it's so at odds that it feels like a pastiche or satire

 

[threespires]

Arc Light - Lau

One criteria that I judge albums by is whether they have a consistent sound track-to-track, and Arc Light certainly does. There are no drastic changes in production or the instruments, it’s the sound of the same band producing great music in the studio.

Great review Rob.

The producer is Calum Malcolm who has an engineering/production CV that reads like a who's who of Scottish/Celtic music. He was the sound engineer for all of The Blue Nile's albums including Hats that was nominated previously. Given the importance and quality of the sound on that album, to me he was almost like a fourth member.

 

[cyan]

Alluring, Radiant, Comforting, Brilliant

 

[threespires]

I'm glad you mentioned the album cover. It seems to have no resemblance to the music at all. It had me expecting 4 to the floor kick drum and techno beats. I'm glad we didn't get 10 variations of Cotton Eye Joe. I would love to know the thinking behind it because it's so at odds that it feels like a pastiche or satire

I think it sort of makes sense. The general imagery itself seems apt, the three of them forging something together and at the risk of crassly stereotyping many folkies, even those whose music actually sounds quite ethereal, see themselves as coming from quite a hard and flinty tradition (ok maybe a bit of stretch for Norfolk boy Green). I think they see themselves as contemporary and doing something different so a modern visual aesthetic combined with a traditional activity seems appropriate to me.

I could of course be talking bollocks.

 

[mrbelfry]

I think it sort of makes sense. The general imagery itself seems apt, the three of them forging something together and at the risk of crassly stereotyping many folkies, even those whose music actually sounds quite ethereal, see themselves as coming from quite a hard and flinty tradition (ok maybe a bit of stretch for Norfolk boy Green). I think they see themselves as contemporary and doing something different so a modern visual aesthetic combined with a traditional activity seems appropriate to me.

I could of course be talking bollocks.

Sounds like the kind of nonsense a band like this might say

 

[Coatigan]

I'm glad you mentioned the album cover. It seems to have no resemblance to the music at all. It had me expecting 4 to the floor kick drum and techno beats. I'm glad we didn't get 10 variations of Cotton Eye Joe. I would love to know the thinking behind it because it's so at odds that it feels like a pastiche or satire

Interesting, in what way did it make you expect that? And pastiche of what?

Before I go on a couple well prompted tangents, I'm not really seeing it (a clash). Maybe because I came to it on the back of their previous two releases (an album and a live collection) which had very traditional images including holding their respective instruments, for quite traditional-ish sounding folk, when this came out, it immediately suggested 'they might be trying something different here'. And indeed the additional sounds, slides, loop pedals, ticking of clocks etc had something the previous ones didn't.

I never really dissected it in the way spires has, but then it also never jarred enough for me to feel I need to.

Speaking of album covers that do not in any way sugggest what the content actually is, the new Nilufer Yanya album is not at all what I would have expected of the cover.

Second tangent, have any of you genuinely bought an album (and what is it) Purely based on the cover? And I mean purely, with absolutely zero previous knowledge of the band their style or sound.

 

[Coatigan]

Sounds like the kind of nonsense a band like this might say

Who are you and what have you done with the real mrbelfry.

 

[Coatigan]

Great review Rob.

The producer is Calum Malcolm who has an engineering/production CV that reads like a who's who of Scottish/Celtic music. He was the sound engineer for all of The Blue Nile's albums including Hats that was nominated previously. Given the importance and quality of the sound on that album, to me he was almost like a fourth member.

You should find the time to give the Conflats album by Out Lines a listen. For a bit of an interesting twist attempt on folk. Some things don't quite work, out but some really do, worthwhile effort all the same. I don't imagine it being Rob's cup of tea but also worth a go, if nothing for the power accordian.

 

[threespires]

Who are you and what have you done with the real mrbelfry.

He's got the arse cause he's still finding pine needles in the vestry and mrsbelfry wants to know when the remains of the 20 ft tree he brought home from church will be shifted out of the living room.

 

[mrbelfry]

Interesting, in what way did it make you expect that? And pastiche of what?

Before I go on a couple well prompted tangents, I'm not really seeing it (a clash). Maybe because I came to it on the back of their previous two releases (an album and a live collection) which had very traditional images including holding their respective instruments, for quite traditional-ish sounding folk, when this came out, it immediately suggested 'they might be trying something different here'. And indeed the additional sounds, slides, loop pedals, ticking of clocks etc had something the previous ones didn't.

I never really dissected it in the way spires has, but then it also never jarred enough for me to feel I need to.

Speaking of album covers that do not in any way sugggest what the content actually is, the new Nilufer Yanya album is not at all what I would have expected of the cover.

Second tangent, have any of you genuinely bought an album (and what is it) Purely based on the cover? And I mean purely, with absolutely zero previous knowledge of the band their style or sound.

It looks industrial and German which made me think techno. I'll address the trying something different thing when I write my review. I dont know the Yanya album but a quick gander on Spotify and a blast through the intros it's a bit less pop and a bit maturer than the cover initially suggests but nothing like the Lau cover.

I did buy Teenage Politics by MxPx largely based on the cover on in my uni days studying information communication technologies I had website largely designed around that album cover

 

[threespires]

Interesting, in what way did it make you expect that? And pastiche of what?

Before I go on a couple well prompted tangents, I'm not really seeing it (a clash). Maybe because I came to it on the back of their previous two releases (an album and a live collection) which had very traditional images including holding their respective instruments, for quite traditional-ish sounding folk, when this came out, it immediately suggested 'they might be trying something different here'. And indeed the additional sounds, slides, loop pedals, ticking of clocks etc had something the previous ones didn't.

I never really dissected it in the way spires has, but then it also never jarred enough for me to feel I need to.

Speaking of album covers that do not in any way sugggest what the content actually is, the new Nilufer Yanya album is not at all what I would have expected of the cover.

Second tangent, have any of you genuinely bought an album (and what is it) Purely based on the cover? And I mean purely, with absolutely zero previous knowledge of the band their style or sound.

I agree the Niluger Yanya cover is incongrous. I know we're not reviewing her but I think though the sound is more 'sophisticated' than her previous albums she's lost something along the way certainly in comparison to her debut.

Probably the first dozen or so classical albums I bought were bought pretty much on the basis of the album covers! I broadly knew what I wanted to listen to but didn't have any clue around what were considered decent recordings of the pieces. It was pre internet and I either couldn't be arsed to buy or didn't want to pay for Gramophone or similar. The album covers seemed to fall into three categories (1) functional looking (2) mad or tacky concept (3) fairly contemporary or at least looking like some though had gone into the design. So I went mostly for the latter.

Have a vague recollection that Deutsche Grammophon seemed to be putting a bit of effort into their art design at the time. That and the fact that their name and logo looked and sounded legit meant I ended up with a disproportionate number of their releases!

 

[bennyboy]

Not my cup of tea at all.
Nothing in it at all for me.Will try a few more listens tomorrow on the bus back up north ,
The way I feel though after a couple of listens it would be unfair of me to score as from the very first track I had the feeling of not my scene type of music.

 

[threespires]

Not my cup of tea at all.
Nothing in it at all for me.Will try a few more listens tomorrow on the bus back up north ,
The way I feel though after a couple of listens it would be unfair of me to score as from the very first track I had the feeling of not my scene type of music.

I shall remember this post next time I put up a Streets album :-) (though I'd be disappointed with anything less than a 'yeah but Coatigans not a twat' response).

 

[RobMCFC]

Not my cup of tea at all.
Nothing in it at all for me.Will try a few more listens tomorrow on the bus back up north ,
The way I feel though after a couple of listens it would be unfair of me to score as from the very first track I had the feeling of not my scene type of music.

But you’re from Scotland! If you can’t don a comedy ginger wig, kilt and hob-nail boots and dance along to this ala Russ Abbot, it’s a sad state of affairs :)

 

[RobMCFC]

I agree the Niluger Yanya cover is incongrous. I know we're not reviewing her but I think though the sound is more 'sophisticated' than her previous albums she's lost something along the way certainly in comparison to her debut.

Probably the first dozen or so classical albums I bought were bought pretty much on the basis of the album covers! I broadly knew what I wanted to listen to but didn't have any clue around what were considered decent recordings of the pieces. It was pre internet and I either couldn't be arsed to buy or didn't want to pay for Gramophone or similar. The album covers seemed to fall into three categories (1) functional looking (2) mad or tacky concept (3) fairly contemporary or at least looking like some though had gone into the design. So I went mostly for the latter.

Have a vague recollection that Deutsche Grammophon seemed to be putting a bit of effort into their art design at the time. That and the fact that their name and logo looked and sounded legit meant I ended up with a disproportionate number of their releases!

What you talkin’ ‘bout Willis?