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Product Description
Review
Efterklang’s third long-player opens with a song so exquisite, so alluring of textural depth and enveloping of divine ambience, that all else fades away. Tunnel vision of the senses, peripheries blurred and spiralled into a Turner-style canvas-drama on the cornea. It’s intoxicating, Modern Drift, a song that stills the rush of a modernity that structures its time around the comparative triviality of necessity. It’s exemplary escapism. It’s where this record puts its first foot wrong.
Because where now? Efterklang achieved great things with 2007’s Parades, but that was a set neatly segued, a complete picture that revealed itself gradually across episodic tracks. Magic Chairs is their ‘pop’ record, relatively speaking; any narrative is fractured, the songs standalone, constructs shorn of company and context. As gorgeous as Alike, which follows the Danish outfit’s seductive opener, is, it marches to an independent beat. The cohesion of the past, which made Parades so magical and saw several critics acclaim it as a Funeral-beater, is absent. As such, Magic Chairs feels like a comparative regression, devolution where its makers could have soared from the heavens to realms wholly otherworldly.
But, should Parades mean nothing to you, this makes for a superb introduction to one of the world’s most uniquely-minded bands. Where other ‘indie’ acts stick a violin atop a standard-issue rock-stomper and call it an anthem, Efterklang assemble their arrangements from classical-forged fragments. The sweep of a graceful string or brass passage is as vital to the overall cohesion of a piece as the guitars and drums, which rumble and rattle in a most wonderful unison. I Was Playing Drums is one example of this astute balancing of elements, penultimate show-stopper Mirror Mirror another; elsewhere, though, things don’t play so smoothly.
But to get too hung up on exiguous imperfections is to waste words that should be used to sing this band’s praises, because they’re absolutely worthy of recognition beyond their present profile. To see them live, the core four expanded, is mesmeric. Across Magic Chairs they exhibit a singular classiness, their composure and patience immensely admirable. It contains many moments of unquestionable gorgeousness. It’s only fault, really, is that it’s not in a Parades league.
With such a precedent set, this can’t help sounding like an exercise in consolidation, albeit an enthusiastically recommended one, rather than a significant progression. It’s focused, and superbly executed, but forgoes immersive longevity for determined immediacy. --Mike Diver
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Most Helpful Customer Reviews
6 of 7 people found the following review helpful:
5.0 out of 5 stars
The True Nature Of Enchantment,
By
This review is from: Magic Chairs (Audio CD)
Danish band Efterklang deliver a box of delightful spells
with their new album 'Magic Chairs'. Ten of them in fact. This is music unafraid to marry complexity with great human warmth. Sounds for the heart and the mind indeed! Strong melodic ideas expressed through a guitar, drums, keyboards and bass core, augmented by sensitively applied string arrangements. Casper Clausen's fragile but hugely expressive voice stands at the centre of these fine songs. He understands the value of economy; the natural quality of all his performances never sounds remotely forced or affected. Things kick of with the spirited strains of 'Modern Drift'. A lovely tune spun out over rolling keyboard arpeggios, spirited percussion, limpid strings and gentle harmonies. Mr Clausen sings like an angel. 'I Was Playing Drums' is another winning composition which brought Arcade Fire to mind on one or two occasions - something to do with the pulsing, anthemic nature of the performance perhaps. The rich multi-instrumental nature of the music of both bands places them in not dissimilar sonic territory. The handclaps and chanting at the beginning of 'Raincoats' sets the scene for one of the project's most affecting ideas. The high-flying flute contributes a folksy element totally in accord with the pounding pagan percussion. 'Full Moon' immediately found a place in my hairy heart as I am sure you can imagine! A mysteriously moody song brilliantly enhanced by the distant choral commentary. 'The Soft Beating' is a simply beautiful song. Final track 'Natural Tune' is just what it purports to be. The composition sounds like it was plucked from the air fully formed, covered in silver spider webs and morning dew. A delightful ending to a truly enchanting album. There will be few finer albums this year! Essential.
1 of 1 people found the following review helpful:
5.0 out of 5 stars
Another Scandinavian Gem,
By
This review is from: Magic Chairs (Audio CD)
Efterklang have been around for some considerable time without making any significant dent on the British music buying consciousness. Perhaps there's just too much music coming out of these countries for us to keep up with. Efterklang have received something of a lift by landing on 4AD for their third album "Magic Chairs".
It's an interesting album whose chief features come in the form of its rather dense layers of instruments and vocals coupled with a nice sense of rhythmic counterpoint. There is quite a lot to the sound here. Guitars, pianos, precussion, layers of vocal harmony, even strings curl around the songs to produce some very beautiful music. This cocktail should lead you to conclude this is a rather heavy sound but the actuality is the complete opposite. There is a lightness to the music which shuffles and ripples along creating a very beautiful whole. This is another example of the prevailing trend for music which seems to take as much of its cue from the classical. A cursory listen to "I Was Playing Drums" or "Modern Drift" could lead you to conclude that these could well have found a home on Heartland by Owen Pallet. Yet comparisons of this type detract from this being more of a rock than a clssical album. The rest of the album follows a more conventional rock format (although rock is a rather strong word to describe it). "The Soft Beating" could, in the hands of any one of a number of Efterklang's contemporaries have been a regulation indie song. The likes of "Scandinavian Love", "Mirror, Mirror", "Raincoats" and "The Soft Beating" illustrate that this is a band looking to think outside the indie rock box. Where the likes of Pallet, The Arcade Fire, even Elbow (who come to mind on "Mirror, Mirror") take the same ingredients and produce something expansive and dense or rich and anthemic Efterklang never rise to dizzying heights. This is an album curiously lacking in bombast. Even when they resort to something close to a full choir on "Full Moon" they never tumble musically over the top. Perhaps this is due to Casper Cluasen's soft sounding voice, which has a strength which whilst not immediately apparent, underpins much of this album. Everything does seem slightly reigned in producing an album which rewards repeated plays. I've not heard their previous music and am not going to try and make any bold comparisons. This is an album which doesn't really need them. A very fine example of how to flesh out the standard indie sound without resorting to any histrionics. A richly rewarding set of songs that deserve as wider audience as they can muster.
5.0 out of 5 stars
Beautifully constructed and detailed pop,
By
This review is from: Magic Chairs (Audio CD)
I admit it took me a while and a good few listens to get into this record. However once I started listening closely, it all came into focus. Each track is arranged with rare precision and detail, having only the instruments (including strings and horns) and voices that are needed. And as someone who likes his pop a little more complex than most, this album really hits the spot for me.
Certainly recommended to fans of their 4AD labelmates Grizzly Bear and (their nearest comparison) Anathallo.
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