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180 of 193 people found the following review helpful:
5.0 out of 5 stars
Life's big issues by one of the best bands around., 22 Feb 2008
Rumoured to be Elbow's last new album in the traditional sense of the word (the band have hinted that future releases may be in the form of EP's / singles only) they return here with what can only be described as a beautiful, masterful, heartbreakingly delicate collection of simply brilliant songs.
It's an album on which Guy Garvey, lead singer and lyricist, seeks to address the big issues of life, love and loss and the resulting collection of songs is perhaps Elbow's finest to date.
"Starlings" starts the album off with aplomb, a hushed harmonised intro of vocals, glockenspiel and piano giving way to a huge burst of horns before Guy Garvey begins his vocal. Garvey has the sort of voice that could sing the entire telephone book to you and you'd still find it deep, and meaningful and melancholically beautiful.
"Bones Of You" with it's flamenco influences, details lyrically that moment whereby you're rushing around a town centre when suddenly you catch a few bars of a song you last hear when you were happy, and somewhere else, and it blasts you back to that time. And back to the love you felt then; "And I'm five years ago/and three thousand miles away". Musically it's quite a commercial and accessible song, like a few on the album. And there's a bitter lyrical under taste in the fact that it becomes apparent that the singer of the song has been lying to himself to a greater or lesser extent, all these years. Brilliant stuff.
Mirrorball is a typically stunning and beautiful Elbow ballad; "Dawn gives me a shadow I know to be taller. All down to you. Everything has changed." over acoustic drums and semi-whispered, right in your ear and head vocals. Gorgeous strings too. Stirring and yet romantic.
Grounds For Divorce, a track many of you have probably heard by now, or at the least seen the country and western tinged video, is based around a stinging guitar riff, part Bloc Party part Led Zep, and a darkly humorous lyric about spending far too much time in a spit and sawdust underground bar; "I've been working on a cocktail / Called grounds for divorce"
With "Audience With The Pope" Garvey tackles religion in a song that he's dubbed "A Bond theme if Bond was from Bury and a recovering Catholic.". It even has the requisite Bond-theme-esque guitar solo.
Next track "Weather To Fly" is beautiful and the sort of track Snow Patrol would record if they could actually write and sing songs that were anything deeper than shallow. It starts with a heartbreaking falsetto sub-vocal and a bass line that sounds distinctly "Chasing Cars" before the beautiful lyrics spin out over the gentle beats;
Pounding the streets where my fathers feet still
Ring from the walls,
we'd sing in the doorways,
or bicker and row
Just figuring how we were wired inside
Perfect weather to fly.
Brilliant.
Loneliness Of A Tower Crane Driver is a stunningly intelligent track in which the misery of someone else's life is played out through all of us. Sounds complicated - it's actually brilliant. It's a heartfelt song, the type which Elbow do best, an industrial percussive line underpinning a swooning vocal and a string laden melody.
Richard Hawley duets with Garvey on next track "Fix", a chirpy, atmospheric, after last orders little number which lyrically deals with a pair of chancers making plans for their ill gotten gains.
Some Riot sounds like a mournful plea to a long lost friend, possibly "The Seldom Seen Kid" himself (Bryan Glancy, a friend of the bands who sadly died in 2007). "I think when he's drinking / he's drowning some kind of riot / what is my friend trying to hide / cos it's breaking my heart / it's breaking my heart".
"One Day Less" sounds like the natural successor to "Any Day Now", whether the main character's luck has changed. Or has it? The strings soar, the drums beat endlessly and Garvey swoons about seeing the light, and being in love.
"Friend Of Ours" is definitely a tribute to the bands lost friend Bryan Glancy, the seldom seen kid. It's beautiful, not at all sugary, and genuinely touching and moving. A fitting album closer if there ever was one. If Garvey's "Love you mate....." doesn't move you then you must have a heart of stone, surely.
This is a fantastic album, sure to please Elbow fans and I think equally sure to attract hoardes of new fans too. If you like your music delicate yet powerful, swooning yet direct and happy yet sad - this is most certainly the album, and the band, for you.
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64 of 69 people found the following review helpful:
4.0 out of 5 stars
make room for Elbow, 14 Mar 2008
I first heard Elbow on one of those late night car journeys listening to the radio. The track was Any Day Now and I thought it was amazing. Slightly dissonant, almost like a medieval chant and it stuck in my head for days. There have been a further two albums since that debut which are both filled with consistently interesting tracks and increasingly honest lyrics dealing with Guy Garvey's relationships and emotions. Why anyone would bother listening to a band like Coldplay when they could have Elbow instead is beyond me but there we go. The band have said that this may be their last album proper with future work released on ep's and singles so is it a fitting farewell (of sorts)?
The album begins with Starlings; a cacophony of sound which suddenly cuts out to reveal a quiet glockenspiel punctured with loud horns and eventually Guy Garvey's voice sounding as heartfelt as ever. Bones Of You takes its starting point from the power of a song to transport you back in time to a memory - 'And I'm five years ago/And three thousand miles away' but we should realise that Garvey is not a rose tinted spectacles kind of guy. Mirrorball is a great example of what Elbow do well; a gorgeous ballad with piano, drums, soaring strings and Garvey's voice up close and personal, filled with emotion ' When we make the moon our mirror ball/the street's an empty stage;/the city sirens - violins./Everything has changed.' The tempo lifts with first single Grounds For Divorce, a down and dirty, bluesey, western influenced anthem with a kick. And then we have Audience With The Pope, a challenge to religion which with its Russian sounding melody comes on like a Bond theme 'I've an audience with the Pope/And I'm saving the world at eight/But if she says she needs me/Everybody's gonna have to wait'. Weather to Fly has a simple melody and three verses which go round in a similar way to Any Day Now, building in intensity, a beautiful track about the band's wish to follow their own course. Then we have the huge Loneliness of a Tower Crane Driver a song which soars lyrically, vocally and musically. Richard Hawley guest duets with Garvey on The Fix, a real character piece which is steeped in smoky, after hours atmosphere. Some Riot is a quiet song, a plaintive cry to a friend in trouble. The big crowd pleaser One Day Like This is the penultimate track, filled with strings and a rousing chorus, sure to be a festival and live favourite with it's chorus of 'It's looking like a beautiful day'. The closing track Friend Of Ours is a heartfelt tribute to the seldom seen kid of the title, Bryan Glancy, a friend of the band who died two years ago. 'Never very good at goodbyes/So gentle shoulder charge.../Love you mate.' Touching stuff.
This is a fantastic collection of songs, not the kind of watered down pop that will make them a chart success like Coldplay or Snow Patrol but the sound of a band confident in their abilities (this album was self-produced for the first time). They have always been good at creating depth musically, and with the honesty of some of the lyrics and Garvey given full range with his voice this is a fitting tribute not only to Glancy but to the band themselves for following their own direction.
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7 of 7 people found the following review helpful:
4.0 out of 5 stars
Tear Stained Letters, 22 Mar 2008
By rights you would think that Guy Garvey, Elbow's lead vocalist and lyricist, should have carved out a career for himself as some sort of latterday folk troubadour instead of fronting one of the bands threatening to break out of Coldplay's shadow. His artless vocals, thoughtful poetry and low-key melodic lines mean that every ballad here seems to come from the heart. Yet arguably it's also this emotional honesty that has so far failed to entrance the wider audience so successfully harvested by Muse.
The Seldom Seen Kid does little to change Elbow's palette, but shows a band that continues to grow from album to album, patiently assembling a body of work. "The Fix" - with an entirely fitting guest spot for Richard Hawley - is slyly comic; "Grounds For Divorce" is a fist-pumping, hand-clapping homage to Glam rock. Both tracks are minor in comparison to the ballads, but they add light & shade to an album that rarely rocks and hardly ever dances.
The song that should have you at least swaying from foot to foot is "One Day Like This": the album's main feel-good moment, propelled upwards by an obtrusive string section and featuring a big, singalong chorus. To be honest, I'll take "Newborn" (from Asleep At The Back) over this song any day, but it could possibly turn into a defining moment at a Summer festival.
Otherwise, this is a dark, haunted album, perhaps better enjoyed while pouring over the lyric booklet in a bedsit than crushing a beer can at Glastonbury. "Friend of Ours" (an economical sketch of a song) points the bewildered listener to some heartbreak unexplained by the song (but helpfully footnoted by William Rycroft's review here), and it is probably the heartbroken who will find the deepest resonance in this collection of songs.
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