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...And Then We Saw Land
 
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...And Then We Saw Land

1 Mar. 2010 | Format: MP3

£7.99 (VAT included if applicable)
Also available in CD Format
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4:28
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3:29
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4:58
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5:13
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3:49
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3:06
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3:41
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5:15
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1:39
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3:31
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8:14
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Customer Reviews

4.1 out of 5 stars
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Top Customer Reviews

Format: Audio CD
Tunng's fourth album sees them operating as a full five-piece band rather than simply the personal project of Mike Lindsay and the now-departed Sam Genders Thinking cynically, this could be an attempt to finally shake off the `folktronica' tag, a tiresome label which presumably gets as much welcome as a one-star review to the bands lumped with it. But of course, that's not the case (though it might be a nice side-effect): this is a natural evolution, and it's yielded some joyous results.

`...And Then We Saw Land' is by far Tunng's most accessible work yet, its bigger scope allowing Lindsay's ear for melody to take centre stage. In `Hustle' they have their first radio-friendly hit, a cute shuffle flavoured with banjos and African-flavoured percussion (they've clearly been taking some notes since touring with members Tinariwen last year). Elsewhere they take their trademarks of delicate fingerpicked guitar and nature imagery and apply them to their most memorable tunes yet.

But this is by no means a reluctant bid for commercial appeal. It is a shame to see a curtail of the liberal use of samples and electronics which made their earlier albums so distinctive - the bleepy refrains which make up the second half of the album will be greeted warmly by their fans - but the songwriting is stronger than ever and the fact the band has been fleshed out never compromises the songs' intimacy. There's none of the grating filler that 2007's `Good Arrows' suffered. "Don't look down or back" sings the 15-person `Mega Chorus' of mates on the epic track of the same name. It's a philosophy that the confident and fully-formed Tunng of this fine fourth album clearly shares.
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Format: Audio CD Verified Purchase
Earlier albums featured moments of song writing genius linked by pleasant musical meanderings. These were as if they had set out to complete a song or two but the sun was shining and they were smiling, so the songs remained unfinished but delightful. This album is a more cohesive set of individual songs yet it is no less Tunng. Whether or not any of the individual songs matches your favourites from the past is a matter of personal taste but the overall quality is far more consistent.

They are often described as Folk but there is no Celtic nostalgia here, no melodies reverse engineered across the pond through modal tuning, no longing for the mines, no working hardship, pirates, poachers, highwaymen or lords and ladies dancing. If this references the past it is the whimsical innocence of Barrett's Floyd or the lyrical brilliance of Ray Davies at his peak. Their work speaks not to the England that would break us but to the England in our hearts, or perhaps the one just a step or two beyond the looking glass.
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Format: Audio CD
Tunng's fourth album felt long overdue. I've been following the band since Comments of the Inner Chorus was released, and loved it all.

There is some very different stuff here from This is Tunng - Mother's Daughter and Other Songs and Comments. This feels like a continuation of some of the trajectories in Good Arrows. I like it a lot, although it doesn't appeal to me quite as much as the earlier stuff.

But then, if they stayed in the same groove with each new record then it would get boring wouldn't it?
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Format: Audio CD
I like this band a lot. I first came across them with the release of 'Comments of the Inner Chorus' and saw them live at Glastonbury in 2007 and then again playing with Tinariwen last year. Both times they were truly an excellent live band. I loved 'Comments of the Inner Chorus' - a lot. There next effort, 'Good Arrows', wasn't bad, more up and down than 'Inner Chorus' in my opinion but I still enjoyed it. So I was eager to hear the latest offering. If I had to place it I'd say it's more 'Good Arrows' than 'Inner Chorus' which is a shame but then I guess it would be nigh on impossible to pen another album like 'Inner Chorus'. It's still recognisably a Tunng album. Although the trademark beeps have been pushed further into the background on most tracks whilst on other tracks there is a more determinedly electronica feel than before. I know that seems contradictory but there seems to be separation to some extent of the more explicit electronica elements from the more explicit folkier elements rather than a combination of them (exemplified best perhaps by Sashimi followed by With Whiskey).

The album all told is pretty good though. A difference from before is evident in that the female vocals are now much more up front. I'm not completely convinced by the move to be honest. She has a lovely voice but personally I thought it worked better as a foil to the lead vocals rather than sitting so far forward in the mix. A lot of the change has been forced by original member Sam Genders leaving. The songs and the music are appreciably less dark than on their previous efforts. The taste of Wicker Man which completely permeated 'Inner Chorus' has largely disappeared though it appears again periodically (notably on 'October' perhaps the song on here most similar to the output on 'Inner Chorus').
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By The Wolf TOP 50 REVIEWERVINE VOICE on 1 Mar. 2010
Format: Audio CD
Folksy London-based collective Tunng have made a lovely new recording.
I've witnessed the term 'folktronica' attached to them elsewhere.
(Giggle!) Boxes, boxes, always the little boxes! Let's just listen.

What I have heard with my increasingly hairy ears is a well
constructed collection of eleven fine songs delivered by
instrumentalists and singers of considerable musical intelligence.

That their inspiration springs from the deep well of a centuries
old English folk tradition is quickly evident but the quirky and
individual spin which they put on the past is both refreshingly
novel and aesthetically satisfying.

Former singer/writer Sam Genders has left the band for pastures
new leaving Mike Lindsay at the helm with singer Becky Jacobs
for company in the front line. The considerable multi-instrumental
talents of the ensemble make for a rich and varied sound palette.

Opening track 'Hustle' is a bright and breezy piece of pop
by any other name. Guitar, keyboard, banjo and shuffling
percussion provide a gently lilting rhythm to support the
delighfully summery vocal harmonies. The subtle electronic
interventions add texture and humour to the winning arrangement.

'Don't Look Down Look Up' has a pretty melody brought to life
by Mr Lindsay and Ms Jacobs. The big, brash chorus, a fine
fret-rattling guitar part and an evocative brass chorale makes
for a richly complex listening experience. A tidy little anthem.

The angular rhythms of 'Sashimi', with its curious sonic
interruptions and dizzy synthesiser part, is one of the
album's highlights. The staccato vocals are spot on.
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