Blue Nile fans. Who are they?
I got into The Blue Nile because someone told me they thought I'd like them. They weren't wrong. And now everyone I know who likes good quality music likes them too, following a referral from me, because this band seems to exist on personal recommendations.
Which is just as well, as they only manage one album every 7 years, on average!
Whenever they do release an album, the critics fall over themselves to praise it. Maybe that's the kiss of death for them....
Well, these critics are quicker than me. I find that each album requires time and quite a few listens to actually love. Each time I've got my hands on an album, I am initially a bit disappointed. Until about 10 listens time, when I am raving to anyone who will listen to me that it is a work of unmitigated genius etc. etc.
Their (relative) downfall is that their tracks don't tend to have the instant appeal that a lot of listeners appear to need. Still others refer to the smooth, glossy, meticulous productions as background music. Surely that's unfair, if you listen to Paul Buchanan's impassioned vocal.
The religious overtones to some of the work can also put people off, but when music is this dizzily hypnotic, I just don't care one way or the other.
Unashamedly soulful and romantic, The Blue Nile carve an individual furrow through pop. Every album has been released on a different label so far - faith and longevity is clearly an issue for the record labels.
Their next album is due in about 2011 (on current stats), but I, for one, will queue up to get it. Come on, Mr Buchanan, write more, write faster.
But he won't. Tortured genius, or pedantic megalomaniac? Who knows? And who cares? We may only have 4 albums, but by crikey they're all corkers! If all songwriters took this much trouble, the aural soundscape would be awash in beauty all the time.
As close to perfect as Mr Buchanan can make it, this album's highlights include the title track and the awesome acoustic ballad "Because of Toledo". Oh, and the beautiful, bizarre and mildly disturbing opener, "The Days of Our Lives", featuring the same chord beating out for the duration of the track, with a snaky little bass riff set against a lyric that is either domestic stream-of-consciousness limbo, or the musings of an omni-present narrator berating modern life. Yikes! Compelling, though.
Stylistically, "High" harks back to the 1989 release "Hats", in that it feels more programmed than the more guitar-y, organic "Peace at Last". But, if it's possible, the songs are more mature and thoughthful than ever.
Exquisite. Measured. Moving.