Reading recently that twins Jack and George Barnett of These New Puritans regarded Robert Wyatt's 1974 album 'Rock Bottom', as one of their favourites I nodded my agreement with their choice, yet realised that it was an album I liked very much but had not actually heard for goodness knows how long. I quickly scanned my CDs to find my copy but could not lay my hands on it. Nothing unusual there as I have quite a few CDs and I have never gotten round to sorting them into alphabetical order. Fortunately I do keep a computer database of all my music (see, I can be organised when I wish to be) but checking that revealed that I did not appear to have a copy.
Shock, horror!
I recall having a vinyl copy of the album and can only assume that when my albums went to the great vinyl graveyard in the sky (what a great place that must be), I somehow never replaced that one on CD. A travesty I know but thankfully I have now rectified the situation and have managed to listen to it two or three times in between working my way through Dylan's 'Complete Basement Tapes'.
And what a great album it is.
One must remember that this album was recorded very soon after Wyatt's terrible fall from a third floor window in June 1973, an accident that left him paralysed from the waist down and subsequently confined to a wheelchair. Despite this, the intensity of the songs does not, as many assume, originate from the accident as they had already been composed by that time.
In those six songs, Wyatt covers traditional sounding themes as well as the more free-form jazz that he was known for with The Soft Machine. He is accompanied by Fred Frith on viola, Mike Oldfield on guitar and a host of others including the wonderful Ivor Cutler on concertina, harmonium and deadpan spoken words. Incidentally the album was produced by Pink Floyd's Nick Mason.
From their own music, I can understand the likes of These New Puritans being influenced by this 40 year old album, and as Jack and George Barnett were not born until August 1988, I can only assume that the influence originates with the music collection of their parents. However they happened to discover 'Rock Bottom' I am thankful that they did and thought fit to broadcast this fact. Without that, my music collection would have been sadly lacking.
Since being swept away by the beauty of These New Puritans' 'Field of Reeds' last year, I have been eagerly awaiting some kind of follow-up album. For the time being, this has come in the form of a live performance of that same album performed at the Barbican, London in April this year. I may have been unable to attend that show but the next best thing is to have the subsequent album 'Expanded' which was released earlier this week.
It is named as such because the basic line-up was enhanced by a 35 piece band and orchestra to recreate the sounds which were painstakingly created in the studio. The results consequently are very similar to the original album and it is perhaps only when the audience applause punctuates the performance, that I remember that I am listening to the live version and not the original.
I may be biased but I think the whole thing works wonderfully well. It is difficult to define but I feel that this is the way the whole thing should have been done in the first place. The piercing brass or sweeping strings may be replicating those studio sounds but were the sounds in the studio not emulating brass and strings? This, I feel was how the album was meant to be and I hope that I get the opportunity one day to see and hear them play this album live in this expanded format.
I should add that as a bonus 'Expanded' also includes two pieces ('Three Thousand' and 'We Want War') from their 2010 album, 'Hidden'. Then, to end is a brand new song called 'Spitting Stars'. A taste of things to come perhaps?
The album is an aural triumph and personally I can't wait to hear what they do come up with next.
As a postscript, I see that These New Puritans have recently revealed their own favourite albums. Among them are 'Vespertine' by Björk, two Captain Beefheart albums ('Doc at the Radar Station' and 'Lick My Decals Off, Baby'), 'Sketches of Spain' by Miles Davis and 'Rock Bottom' by Robert Wyatt. No major surprises there I feel.
More surprisingly perhaps, the list also includes 'Pacific Ocean Blue' by Dennis Wilson and 'Down By The Jetty' by Dr. Feelgood. An interesting collection!
On 17th April 2014, These New Puritans performed 'Field of Reeds' in it's entirity at the Barbican in London. For the occasion, the usual line-up was expanded by a 35 piece band made up of brass, strings, percussion, voices, electronics, glass and magnetic resonator piano. Sadly I was unable to attend.
I am therefore very excited by the forthcoming release of a recording of this performance which is to be called 'EXPANDED'. Courtesy of Pitchfork TV, part of this recording is now available for our viewing pleasure. So stick on the headphones and give this a listen.
http://www.thesenewpuritans.com/expanded/
The release date is 20th October. Personally I can't wait.
It has been quite a difficult task coming up with my absolute favourite albums of 2013; it truly has been a wonderful year for new (and reissued) music. Now it has finally come to the point where tradition dictates I should name the ones that come top of the pile, the deciding criteria being which new albums have occupied most of my listening time this year. In the end it comes down to the following six.
To place these six albums into some kind of order is also difficult for I am sure that whatever sequence I come up with today, I may disagree with tomorrow and to quote David Bowie, 'and the next day and the day after that'.
Anyway, this is the White Room top six (in reverse order) for 2013.
6. 'Haw' by Hiss Golden Messenger.
I wrote about this album in May and you can read my thoughts here.
5. '[Awayland]' by The Villagers.
This was written about way back in January and my prediction that it would feature among my favourites was accurate. Read my thoughts here.
4. 'We Are The 21st Century Ambassadors of Peace & Magic' by Foxygen.
My thoughts on this work appeared on these pages in July. Read them here.
3. 'VII' by Blitzen Trapper.
One of my favourite bands of the past ten years didn't disappoint with this offering. Yes, of course you can read my opinions here.
2. 'The Raven That Refused To Sing (And Other Stories)' by Steven Wilson.
It was a very close run thing for first place this year. I love this album and on any other day it may have clinched the top spot. If you wish, feel free to read more here.
1. 'Field Of Reeds' by These New Puritans.
I don't see this album finishing top of any other list this year, though to be fair it has featured in the lower extremes of some magazine lists. There is no doubt that this is less accessible than other albums in my own list, yet it is for that very reason that I have decided to award it first prize this year. The band are not seeking any commercial route to stardom but are bravely ploughing their own furrow, creating music which is challenging yet immensely rewarding for those prepared to stick with it. This is an album that will stick with me for many years and which one day may be looked back on as a true classic.
You can of course read my original thoughts here.
That's all until after Christmas but here's wishing you a very happy holiday.
Cheers!
On Friday 18 October, I set off for the Newcastle City Hall with fairly mixed feelings as I was attending this concert at the expense of seeing These New Puritans who were playing just across the River Tyne at The Sage, Gateshead. Two of my favourite finds this year, and they both have to be playing in my area on the same night. That's what we call sod's law in these parts.
Anyway the tickets for Steven Wilson were obtained long before I knew anything about These New Puritans, so off I went looking forward to seeing live performances of songs from one of the best albums of the year, 'The Raven That Refused To Sing... and Other Stories'. I was not to be disappointed as the band played almost everything from that album. (Only 'Pin Drop' was omitted).
It is always something of a thrill entering the City Hall as it was one of the first major venues I ever attended back when I was a slip of a lad. I have lost count of the number of times I have been there but regrettably these days visits are something of a rare occurrence simply because they tend to feature very few artists that interest me.
Soon after taking our seats, a film was projected onto the rear curtain and as the main character of the film (a street busker) strummed his guitar, the sound was replaced by that of Wilson himself strumming his own acoustic guitar and ambling barefoot onto the stage.
He was eventually joined by the other five members of his band and soon they were pumping out the opening bass riff of 'Luminol' which opens the aforementioned album.
The recent songs were broken up by a couple from Wilson's previous album, 'Grace For Drowning' as well as a brand new song which is currently named 'Soundtrack to Decline' but the title like the song was being road tested and is therefore subject to change.
Throughout I was struck by the quality of the musicianship as the band successfully recreated the complex rhythms produced on record. In this respect I was put in mind of when I went to see King Crimson, Genesis and Yes in the early 1970's and the use of film and projected images also recalled the visual attributes of the aforementioned master of prog-rock.
After a little over two hours, the band ended with an encore of 'Radioactive Toy' from the first Porcupine Tree album and the band took their bows and left, leaving us to take one more look around this wonderful venue and venture out into the night.
The full setlist consisted of:
Trains
Luminol
Postcard
The Holy drinker
Drive Home
Soundtrack to Decline
The Watchmaker
Index
Sectarian
Harmony Korine
Raider 2
The Raven That refused To Sing
Radioactive Toy
I'm currently enjoying sunshine, walks, fine scenery and the occasional ice cold cerveza in Spain but thought I'd share this little item with you.
As you will know if you have read earlier posts, I have been particularly impressed by two albums this year. They are 'The Raven That Refused To Sing and Other Stories' by Steven Wilson and 'Field of Reeds' by These New Puritans.
Back in March I learned that Wilson was playing at one of my all time favourite venues, Newcastle City Hall on Friday 18 October. I wasted no time in purchasing my ticket.
Now, I have discovered that These New Puritans are commencing a UK tour and will be playing The Sage in Gateshead on......
Yes, you guessed it - Friday 18 October!
I mean what are the chances of that?
They are also playing in Leeds on Wednesday 16 October so I may just have to hop in the car and drive there. The things we do eh?
Anyway as they say here in Spain, hasta luego.
There seems to be little time for indoor activities (including blog writing) as I take advantage of the first prolonged spell of warm (nay, hot) sunshine we have had here in the north east of England for some considerable time.
So as I enjoy my early morning coffee before venturing outdoors, I hastily write to let you know that I am still alive and well. Thanks to the wonders of having most of my music collection available to play through my Samsung mobile phone, I can still play my music while I am out and about and yes, I am still enjoying the album 'Field of Reeds' by These New Puritans.
On that subject, I must add that I was contacted recently by someone who suggested that I might like The Microphones, and in particular their album 'The Glow Part 2'. I was told that there was a resemblance to the music contained within 'Field of Reeds'.
The Microphones were an indie band fronted by Washington based singer/musician Phil Elvrum. In 2004, Elvrum changed the name of the band to Mount Eerie and they have operated under that name ever since, though from what I can gather, they appear to have been fairly inactive since 2007.
'The Glow Part 2' was released in 2001 and was hailed at the time by music critics for the exceptional songwriting and the quality of the production. Occasionally the music is soft and gentle but at other times it is densely layered with a variety of sounds and percussive effects. The album passed me by at the time (I had never heard of The Microphones nor Mount Eerie), but thanks to the contact I have obtained the deluxe version of the album.
I agree that there are strong resemblances to the sounds contained on 'Field of Reeds', particularly in the vocals. And somehow listening to both these albums fits perfectly with the weather we are enjoying at the moment. I'm off walking in the beautiful English Lake District National Park tomorrow, so long may this weather continue.
See you next time.
As another birthday slips by, I realise that we are once again midway through the year. So it seems a good time to quickly mention the albums that have most impressed me so far in 2013.
I have of course previously mentioned some of the best, such as:
- Pere Ubu - Lady From Shanghai
- Richard Thompson - Electric
- Villagers - {Awayland}
- Steven Wilson - The Raven That Refused to Sing
- Steve Earle - The Low Highway
- Hiss Golden Messenger - Haw
- These New Puritans - Field of Reeds
- Anais Mitchell & Jefferson Hamer - Child Ballads
Others that are contenders include 'Til Your River Runs Dry' by Eric Burdon who remains in very fine voice. Also a great return to form by David Bowie with 'The Next Day', 'Push the Sky Away' by Nick Cave & The Bad Seeds and the second album from Mount Moriah entitled 'Miracle Temple'.
I am also currently listening to 'Southeastern' by Jason Isbell and 'Once I Was an Eagle' by Laura Marling and I have little doubt that they will feature in my final decision at the end of the year.
All in all it has been a great year so far. And there are still another six months to go!
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.
I am not a fan of the rather soulless music of most of the electronic bands of the 1980's. However, one band always seemed to stand out for me as being something rather different. They were Talk Talk.
With each album they seemed to become more progressive and less commercial and this trend culminated in their final two albums, 'Spirit of Eden'
and 'Laughing Stock'
This latter album in particular was a totally non-commercial venture that incorporated elements of folk, prog-rock, pastoral jazz and contemporary classical music within six improvised pieces. Both albums were utterly compelling and in my view, totally sublime.
So, on a rail journey to London last week, I was intrigued to read a review of the forthcoming third album from These New Puritans. Entitled 'Field of Reeds' the reviewer compared the sound of the album to the aforementioned releases by Talk Talk. It is not released until next week (June 10th) but live streams can currently be found on various internet sites. I decided I had to give one a listen and I was suitably impressed. Impressed enough to put in an advance order for the CD.
No doubt I will be writing at more length on this subject in the weeks to come. Meanwhile you can currently hear the album on this site:
http://www.guardian.co.uk/music/musicblog/2013/may/30/these-new-puritans-popandrock
Also I cannot recommend the above albums by Talk Talk highly enough. Try to give them a listen if you can.
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