I have no idea how to begin to categorise this album. It sure isn't rock music, but then again, nor is it jazz, folk, blues, pop or any other musical genre you may care to mention. Yet, it is not totally unique for though it may seem lazy to make this comparison, the comparison has to be made, with the superb album, 'Laughing Stock', by Talk Talk. Another reference point may be the US band, Swans though I confess I am less familiar with their work.
If you happen to be familiar with the 2010 album 'Hidden' by These New Puritans, you will have heard hints of what was to come. Yet, 'Field of Reeds' is a very different beast, utilising far less by way of rhythms than its predecessor, which if anything, slightly overdid the percussive effects somewhat. Not that this album is without rhythm or percussion. It is just done in a more subtle way.
The nine tracks on the album are divided into three suites of three pieces each. I am only aware of that because of the way they are grouped together on the album sleeve. Frankly each piece stands up in it's own right and I don't think it matters in which order you hear these pieces of music - notice that I am avoiding the word 'songs'.
The first track, 'This Guy's In Love With You' begins with muted, stately piano chords then a female voice enters though appears to be coming from a hundred miles away. I suspect this may be new addition to the band, Elisa Rodrigues who adds a subtle dimension to this album. There are shades of early Bjork in the vocal effects but the horns and later strings bring the Talk Talk classic to mind. It is mesmerising and beautiful.
The album is not without its memorable hooks as can be heard in the second track, 'Fragment Two' where the piano begins with a repeated pattern that soon worms it's way into your subconscious. It stops to be replaced by graceful strings, then returns once more.
If you are big into lyrics, this album might leave you feeling slightly frustrated, as like Mark Hollis of Talk Talk, Jack Barnett cannot be described as a classic singer. Often mumbled, the words in any event appear to be abstract to say the least. Yet they fit perfectly with the music and the overall feel of the album.
Another hook occurs during track four, the ten minute long 'V (Island Song)', where after a ponderous opening, a brief piano section lays down the main theme. It is gone in a flash but somehow remains in your mind and thankfully soon returns to become the main part of the song. Joined by bass and wonderful percussion, the whole thing becomes quite funky. Eventually only the percussion remains but gradually voices and organ fade in to take us to the finale. It is an astonishing piece of music.
'Organ Eternal' has the next catchy hook played from the outset by organ and piano with subtle bass parts. The theme is joined by glockenspiel and strange shrieks come at you from all directions. Suddenly everything stops and sweeping strings take over anchored by brooding cello.
There are some reviewers who have branded this as pretentious tosh, or words to that effect. Others hail it as a work of genius. I fall into the latter category. Throughout, this album offers glorious melodies, and an aural landscape that is so broad that you hear something new each time you play it, especially through headphones.
Frankly, I can't stop playing it.
Postscript:
I'm being visited by my son over the coming weekend and then I'm off for a short holiday.
Hopefully I will see you back here again later in June.
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