Redemption's Son

The third album from Joseph Arthur is a sprawling collection of songs, each with its own particular sonic texture and atmosphere. For the most part, it lacks the rawness and urgency of its predecessor, and lacks the same focus. However, there is much to praise here. The title track which opens the album, is perhaps the most original recording collected here, and is strangely beautiful and beguiling, Arthur singing half the song in multi-tracked falsetto. The next two tracks are nice, but nothing more than that. 'I Would Rather Hide' has a pleasing opening, and develops into a decent song. This is followed by the simple but beautiful Innocent World, where Arthur again employs his curious falsetto to touching effect; it's a good tune, a bit like Prince if he'd smoked a few reefers in the studio. It's useful to compare Arthur to both Prince and Tom Waits, as like them, he is fond of using all kinds of genres and sounds on his albums. It's a credit to Arthur that none of tracks on this album sound like any of the others; they are all individual works, like a set of sonic paintings. However, one could say that such ecleticism leads to less focus and cohesiveness, and such an accusation could perhaps be levelled at this album. However, it's hard to criticise an artist for being this willing to experiment. September Baby is a hazy kind of pop song that floats by. Nation of Slaves has the kind of heavy chunky grunge guitar of Exhausted from the second album. Evidence is the closest we come to a pop-rock classic along the lines of the brilliant 'Chemical' from two years ago. This in turn spills into the surprisingly funky 'Buy A Bag'. Then follows a long, dreamy interlude, called Termite Song, which manages to be simultaneously soothing and unsettling at the same time. Feels like a road trip under water. Following on from this soporific piece, we get the brilliant 'Permission' with some tremendous loud outbursts that feature the kind of warped guitar that My Bloody Valentine used to specialise in. The five tracks that finish the album are the most direct and conventional on the album, and are for the most part, slightly more effective than the more experimental soundscapes. Favourite Girl is a melancholic pop song that would have fitted on Come To Where I'm From. You Are The Dark is the most beautiful song on the album, dominated by a plucked acoustic guitar, it really hits home, and makes one smile at its effortlessness. In The Night is a terrific two minute pop-rock blast that's a great singalong, almost T-rex-like, replete with neat handclaps. It makes one realise the soporific nature of some of the material that has preceded it. Then follows Blue Lips, a bleak but catchy song with a countryish tinge, and You've Been Loved, a sweet if slightly tame conclusion to the opus. Overall, one has to be impressed by the variety and the soundscapes created - no one else sounds like Joseph Arthur; there's a kind of woozy ultra-produced feel to most of his material which sucks the listener in. Yet when he chooses to strip away the layers, one can say he is an even more compelling artist. This album has more in common with the first Joseph Arthur album than it does the second; there's a lack of raw emotion here, but plenty of beautiful and startling moments. The album perhaps isn't a masterpiece, but it's another vital release by one of the most important artists in contemporary music.

If you are fortunate enough to own a copy of Come To Where I'm From then you know what to expect, but for the vast majority of music lovers still to discover Joseph Arthur, you are in for a truly soul stirring experience. Artist, poet, singer/songwriter Joseph Arthur has the unique position of being the only rock act signed to Peter Gabriel's Real World Label. His deep, thoughtful lyrics are set against a backdrop of guitar and sound textures, creating some dreamlike moments familiar to fans of Mercury Rev. If you are fortunate enough to catch Joseph live, you will witness him creating his backing using a live sampling and looping technique over which he will then sing.

Redemption's Son is perhaps less experimental than its predecessor, but is no less startling and creative. His unconventional voice hits deep emotion as frequently as grunge rock. With acoustic guitar a la Nick Drake or The Byrds, fans of Joseph's previous two albums are in for a real treat.

A break from the norm, this gem of an album is awaiting you. Thank God he isn't on a major label - much respect, Pete!

The follow up to Come To Where I'm From disappointed at first; but then I had to recall that it's predecessor took several listens to understand. Redemption's Son could probably benefit with losing a couple of tracks, but there are still more gems in amongst the 16 on here than most albums.

The first five tracks are all stunning, and its one of the strongest starts to any record I've heard: mostly tender, all haunting and melodic. Honey and the Moon and Innocent World are drop-dead gorgeous, and Redemption's Son, the title track and opener, is equally fragile. Though slower paced, these aren't paper-light songs; they resonate listen after listen. The lyrics may be a little too deep and challenging for those looking for "la la la I love you"; he's not the happiest of souls!

The middle of the album is a little confused, with a couple of long, plodding numbers, but it ends strongly, not least with the up-tempo In the Night, which would be a massive hit single for anyone with a higher media profile; sadly, artists like Joseph Arthur don't get the kind of exposure that their music deserves.