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In recent times Supergrass and Oasis spring most immediately to mind as pertinent examples of this phenomena. The Coral shared stages with them both, and when the Wirral quintet (née sextet) put out their fifth album–2007's fairly pedestrian Roots and Echoes–and followed it with a Singles Collection the following year, you'd have got decidedly speculative odds on them being the last band standing in 2010.
But you'd be quids in now: despite being a guitarist down (Bill Ryder-Jones departed after Roots and Echoes), they've regrouped admirably and made a comeback record that strives for, and indeed almost reaches, the dizzying heights of 2002's self-titled debut. With John Leckie (Radiohead, The Stone Roses) behind the desk, Butterfly House displays a focus and clarity that they've struggled to rediscover ever since their breakthrough. Crucially, too, it also sounds like they're enjoying themselves again.
Bookended by ominous Morricone-esque opener More Than a Lover (a track the band say was a watershed moment during recording) and ending on expansive, freak-out finale North Parade (After the Fair) (is that ringing opening chord a nod to A Hard Day's Night?), The Coral's sixth album doesn't look to reinvent their 60s-influenced sound as such, but it does harbour some of their better recorded moments–of which those are certainly two.
Elsewhere, Roving Jewel channels American jangle-poppers The Byrds with its quicksilver guitar lines and breezy harmonies; She's Coming Around showcases the band's playful side with nods to mariachi sounds and an unexpected double-time closing passage; and the title-track unwraps itself slowly with more glorious multi-part vocal lines before erupting in a sea of guitars.
They were never, ever going to astound us by delivering a math-rock or dubstep album as their comeback, but Butterfly House successfully arrests a worrying decline. And now they've got past the dreaded Greatest Hits phase, who'd bet against The Coral reaching a delightful dozen?
--Rob WebbFind more music at the BBC This link will take you off Amazon in a new window
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Customer Reviews
So I'm new to The Coral, and I'm judging an album and not a band, though on the basis of listen to `Butterfly House' I think I might have to do some investing in their earlier work.
The first impression I had was of a band using the UK folk tradition merging in with electric guitar rock, songs of relationships and landscapes framed in stories, voice not drowned out by music, merging nicely together. Then there are echoes of the sort of work produced by the US 1960's band the Byrds in their first four albums, particularly in `Two Faces' though The Coral have an easier more rhythmic way, I'd put that down to being a more stable and focused outfit.
OK I'm going to stop rambling on about comparisons in case I do this band a disservice by suggesting they've just hung about and copied. They've obviously worked hard at forming their own sound, lyrical guitar work complimented by a keyboard moving in and out of the music, clear and easy to relate to intelligent lyrics (which means they an't heavy in metaphor and cod-metaphysics) and very worthy harmonies. This is band not afraid to break the pattern either, nice guitars break in `1000 years' and `North Parade'.
This is a band I wish we'd had around in the late 1960s before UK music sort of slipped into indulgent solos, obscure lyrics and concept albums, they might well have shaken up the scene into getting back to clarity and music for listeners.
My only regret, I didn't buy the limited edition album.
So folk of a `certain age' here's a band carrying on the finer traditions and honing them to their own style- well worth having.
comparable to the likes of Simon and Garfunkel,
The Beatles, even Kula-Shaker.
Simply awesome,
there is no point talking about it any longer
just listen to it for yourself and see.
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