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Bahama is the third album by the plaintive London three-piece Arnold. Cocooned in their own self-referential dimension--naming themselves after their bass player's dog, preferring to record in country barns rather than top city studios and clearly oblivious to all sensible commercial considerations--Arnold couldn't be any more bloody-mindedly parochial if they moved into a commune with
XTC. Perhaps that's why former Creation boss Alan McGee has now signed them for a second time. More probably, it's got something to do with their music.
Bahama, the band's third album, ploughs a similar furrow to the blissed-out
Radiohead /
Crosby Stills Nash stylings of yore but also begs the question--how do Arnold make such a big sound so quietly? Mellow seems too violent a word. Somehow, they communicate their sleepy-eyed melancholia in a soniferous whisper of creamy close harmonies, shining acoustic guitars and cavernous echo, occasionally upping the ante with skin-tingling solo fretwork worthy of Dave Gilmour. Be it the fragile, crepuscular organ on the haunting "Jus De Lune", the polynesian guitar flavourings of "Climb" or album stand-out "Other Son"--which bobs to and fro like a fishing boat skippered by
Fleetwood Mac's Peter Green -
Bahama is switch-off serenity exemplified. --
Kevin Maidment
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