Review: Berserk! (Lorenzo Esposito Fornasari and Lorenzo Feliciati)
RareNoise Records CD RNR031 Time: 49:41 (vinyl soon and hi-res digital)
http://www.rarenoiserecords.com/berserk and www.facebook.com/berserkband
Tracks: 1) Macabre Dance, 2) Fetal Claustrophobia, 3) Blow, 4) Not Dead, 5) Clairvoyance, 6) First, 7) Dream Made Of Wind, 8) Wait Until Dark, 9) Latent Prints, 10) Dream Made Of Water
Band: Lorenzo Esposito Fornasari (Voice, Electronics, Organ, Guitar) and Lorenzo Feliciati (Electric and Upright Bass) with: Gianluca Petrella: Trombone & Effects (tracks 1,2,4,5,7,10), Fabrizio Puglisi: Piano & ARP Odyssey (6,8,9), Jamie Saft: Keyboards (1,2,9), Eivind Aarset: Guitars (3,4,7,9,10), Sandro Satta: Alto Sax (3,9), Cristiano Calcagnile: Drums & Effects (4,5), Pat Mastelotto: Drums & Effects (6,8,9), Simone Cavina: Drums (1,2)
Lorenzo Esposito Fornasari aka LEF and Lorenzo Feliciati form the core of Berserk!, along with some other familiar names in the RareNoiseRecords stable, including Feliciati’s fellow Naked Truth bandmate Pat Mastelotto.
We all need a venting catharsis now and then—some folks resort to primal scream therapy, but generally I’ll pick music to assist with exorcising my darkened bilious tendencies. The new self-titled album from Berserk! seems like an effective cure for those intractable days when the pile gets too deep and the unrelenting Myth of Sisyphus comes to mind. Despite the band and album moniker, there is a broad mix of dynamics in the album and it’s marked by many (nearly neck-snapping) contrasts in sound and rhythm.
Berserk! isn’t a broad spectrum motoric assault on the senses, but it deftly selects its points of release, building like a suspense thriller with the rage boiling over every so often. The album also teases and mocks (from the gently maniacal whistling in the opener Macabre Dance to the background telephone ringing in Fetal Claustrophobia…yes, I turned my head to see if my phone was ringing!). There’s also a brief moment of saxy playfulness (albeit dark) in the reflective interlude Blow before entering the backstreets and dark alleys of Not Dead (shades of the growling Tom Waits and Sparklehorse duet Dog Door from the 2001 album It’s A Wonderful Life) with raspy voices and clusters of percussion pushing against an unyielding darkness.
Feliciati’s bass work throughout the album is reminiscent of Percy Jones’s work with Brand X, particularly the earlier freer-form improvised and less commercial version of “The X”. The aggressive horns, meandering piano, fast-changing rhythms and moods (as in Fetal Claustrophobia) also remind me a great deal of one of my favorite King Crimson albums, Lizard (under-appreciated until Steven Wilson remastered it with Robert Fripp). The treatment of Gianluca Petrella’s horns throughout much of the album often sounds like the thundering Mellotron horns used in Lizard. The sharp inventive contrasts in instrumentation also remind me of Frank Zappa and early albums by Godley and Creme (as in the albums L and Freeze Frame). Yet, there’s little humor in Berserk!—the focus is strictly business.
The middle portion of the album is furtive and contemplative in spirit (like the tracks Clairvoyance and First) and eventually LEF’s vocals (sung here, not spoken) break through, channeling John Wetton. Note: Don’t forget to listen for R2D2. There’s a brief pause (the calm before the storm?) with ethereal atmospherics and horn work in Dream Made Of Wind before the closing section of the album begins with a tender solo piano largo and transition to a massed rhythmic vocal and ultimately a full band assault in Wait Until Dark leading into an alto sax ensemble of Latent Prints (the feeling of KC’s Lizard returns) and moves into a roaring full-clustered rip. The album closes with the ominously thunderous and raging vocal domination of Dream Made Of Water—there’s the Berserk!
Had a tough day in the trenches? Hold the rage at-bay (warn the neighbors, shut the doors and turn up the amp) and have a listen. I think you’ll feel better.
Lorenzo Feliciati and Lorenzo Esposito Fornasari – Courtesy of RareNoiseRecords
This is a solicited review.
A List Too Small – My Favorites of 2012
Thank you to all the artists and record labels for such wonderful and diverse music.
This is one list of many, it’s my list, and it leaves off many other favorites that I have enjoyed over the year in addition to the thousands of other albums and single tracks that make up music throughout the World. What has helped me arrive at this list is what I have always loved about music: Does it move me? In addition, is it creative, well recorded and produced with a degree of care that makes me pay attention to it? There was a time when I was obsessed with highly produced and tightly engineered works, then I learned about artists such as East River Pipe and Sparklehorse, and many other genres of music were opened to me.
If you don’t see your favorite album on this list (or even your own album), it doesn’t mean a thing. If an album has been reviewed on my website this year, it’s meaningful to many others and me, but this is only a very, very small slice of the music world. Often people ask me about new music, and what I recommend. When I started this website in late January, 2012 it was first a means to write about music that I enjoyed, but also to get to know other artists and learn about new music that they create, so I could pass it on. Often, the best new music is that referred by a friend. Please feel free to send me your comments and recommendations.
Special note: There are still three or four late 2012 releases that are either enroute to me, have yet to be released or have just arrived. I need to spend proper time listening to and absorbing these albums. Rather than delaying this list further, and if after listening to those last 2012 releases I feel that they hit a sweet spot, I’ll review those albums in early 2013. I know of at least two 2012 releases that I’ll likely not receive until 2013.
I have three categories: Albums (12), Individual Tracks (6), and Special Releases (3) that don’t necessarily fit into a category.
Albums (Artist – Album Title – Record Label)
1) Twigs & Yarn – The Language of Flowers – Flau
2) Lambchop – Mr. M – Merge Records
3) Zammuto – Zammuto – Temporary Residence
4) Steve Hackett – Genesis Revisited II – Inside Out Music
5) Taylor Deupree – Faint – 12k
6) Billow Observatory – Billow Observatory – Felte
7) Gareth Dickson – Quite A Way Away – 12k
8) Pill-Oh – Vanishing Mirror – Kitchen. Label
9) Brambles – Charcoal – Serein
10) Almost Charlie – Tomorrow’s Yesterday – Words On Music
11) Cody ChesnuTT – Landing On A Hundred – One Little Indian
12) Stick Men – Deep – Stick Men Records
Individual Tracks (from other albums)[vimeo http://vimeo.com/46499688]
1) Library Tapes – Sun peeking through (from the album Sun peeking through) – Self Released
2) Cock & Swan – Orange & Pink (from the album Stash) – Lost Tribe Sound
3) Alex Tiuniaev – Daylight (from the album Blurred) – Heat Death Records
4) Kyle Bobby Dunn – In Praise of Tears (from the album In Miserum Stercus) – Komino
5) Kane Ikin & David Wenngren – Chalk (from the album Strangers) – Keshhhhhh
6) Olan Mill – Bleu Polar (from the album Paths) – Fac-ture
1) Celer & Machinefabriek: Maastunnel/Mt. Mitake, Numa/Penarie, Hei/Sou – Self Released
2) Birds Of A Feather: Michael Frommer – The Great Northern Loon, Porya Hatami – The Black Woodpecker, Darren McClure – The Black Kite, The Green Kingdom – The Great Blue Heron – Flaming Pines
3) Simon Scott, Corey Fuller, Marcus Fischer, Tomoyoshi Date and Taylor Deupree (Recorded live in Japan October, 8, 2012) – Between (…The Branches) – 12k
Record Labels Noted Above
Merge Records: http://www.mergerecords.com/
Temporary Residence LTD: http://temporaryresidence.com/
Inside Out: http://www.insideoutmusic.com/
Kitchen. Label: http://www.kitchen-label.com/
Words On Music: http://www.words-on-music.com/
One Little Indian: http://indian.co.uk/shop/landing-on-a-hundred-1.html
Stick Men Records: http://stick-men.net
Library Tapes: http://librarytapes.com/
Lost Tribe Sound: http://www.cockandswan.com/ Note: I have not listed the weblink to the record label as Google has noted that the website MAY be compromised.
Heat Death Records: http://www.heatdeathrecords.co.uk/
Kesh (Simon Scott’s label): http://www.keshhhhhh.com/
Machinefabriek & Celer: http://machinefabriek.bandcamp.com/ & http://www.thesingularwe.org/fs/
Flaming Pines: http://flamingpines.com/
Updated: What’s Spinning Today – Robin Guthrie, Olan Mill, Machinefabriek and A Winged Victory For The Sullen
Robin Guthrie – Fortune ***Updated with Souncloud link sample***
Soleil après minuit – SM1203CD – CD and 300 copies forthcoming on Vinyl
Robin Guthrie, long ago, moved on from his work with Cocteau Twins. Some fans want him to keep looking back, but frankly, I’m glad that he has continued on with his own work (albums and EPs) and numerous collaborations with Harold Budd, Eraldo Bernocchi and others as well as film soundtracks. Don’t get me wrong, I still enjoy my CT albums, and nothing is more searing, emotionally than the CT track (from their last album, Milk and Kisses) Violaine.
Fortune is a personal work, putting his life, emotions and experiences into his layered, chorus-and-echo-filled guitar sound. I sense intense memories too. I find that Guthrie’s work is filled with sound-color, which is also why I am so drawn to it. My favorites include the languid ladybird, the refreshing like water in water, the tender and deeply-toned melody of perfume and youth, and and so to sleep, my little ones, which picks up where the EP Songs To Help My Children Sleep leaves off—enchanting.
Artist Website: http://robinguthrie.com/
Available also at: http://darla.com/?fuseaction=item_cat.ecom_superitem_detail&item_cat_id=41313
Olan Mill – Home
Preservation CIRCA512 – limited 300 copy CD release and Digital
With each Olan Mill release, I am drawn all the more to their work. There is a subtle lag between rhythms, melodies and harmonies that gives a tidal flow, similar to some works of Ralph Vaughn Williams or Claude Debussy. Also, I’m not sure how this will be taken by some current listeners of this genre, but some of Olan Mill’s work reminds me of early to mid 1970s compositions of Evangelos Papathanassiou’s, especially the soundtrack to the Frédéric Rossif film La Fête Sauvage.
Record Label: http://www.preservation.com.au/product/olan-mill-home
Album overview at Experimedia:
Machinefabriek – Secret Photographs
Important Records – IMPREC366 – CD and Digital
This is a three track (more than 70 minute) soundtrack for a forthcoming film about Alvin Karpis (notorious bank robber and longest serving prisoner at Alcatraz Prison) by Mike Hoolboom. Karpis was released from prison in 1969, moved to Spain and wrote a memoir. He took photographs in the closing years of his life, and never shared his work with anyone until the collection was found for sale on ebay. Rutger Zuyderfelt’s response to the work is separated into three parts (black and white, color and black and white). It is a subtle guitar and electronics-based composition that gives the sense of taking a hushed and private tour through chambers of secluded memories.
http://www.machinefabriek.nu & http://machinefabriek.bandcamp.com/album/secret-photographs
A Winged Victory for the Sullen – A Winged Victory for the Sullen
Erased Tapes – ERATP032 – Vinyl, CD and Digital Files
Released about a year ago, the eponymous A Winged Victory for the Sullen album is the work of Stars of the Lid’s Adam Wiltzie and LA composer Dustin Halloran. I didn’t realize that there was a connection between Adam and Mark Linkous (Sparklehorse), but it was ultimately that connection and colleague Francesco Donadello that brought …Winged Victory… together. Large spaces, grand pianos, string quartets and delicate woodwinds and brass are the framework for this lush and stunning album.
Artist Website: http://www.awvfts.com/
Record Label: http://www.erasedtapes.com/artists/biography/16/A+Winged+Victory+For+The+Sullen
Some Recent Kitchen. Label Releases
Record Label Website: http://www.kitchen-label.com/
Soundcloud Page (Excerpts of Albums): http://soundcloud.com/kitchen-label/sets
Available at: http://www.darla.com/
I am always on the lookout for new music, especially from record labels that are doing something different, something special, and I don’t mind spending extra money for well crafted, limited or richly illustrated art editions. In a way, it’s my reaction against the trend of digital only releases, which include not only music, but e-books (I still prefer finely crafted, bound books).
I’ve missed some of Kitchen. Label’s earlier releases that have gone out of print, but to date I have acquired four albums from their US distributor, Darla (their first release being in 2008 and they are an outgrowth of their design firm Kitchen, founded in 2005). K.L is based in Singapore and specializes in releasing art-editions of talented emerging artists, and label founders Ricks Ang and April Lee take great care in all aspects of their work, from the engineering of the recordings to the diverse and creative designs.
ASPIDISTRAFLY – A Little Fable – Kl-007 – 2011
ASPIDISTRAFLY is composer and vocalist April Lee and producer Ricks Ang, and their work tells charming and delicate stories. Their second album A Little Fable was released in 2011 and it has the presence of a secret garden. I find the depth and airy quality of Homeward Waltz to be particularly enchanting–it’s like chamber music. Their first album I Hold A Wish For You was also released on K.L.
Landscape With A Fairy
FJORDNE – Charles Rendition – Kl-006 – 2011
FJORDNE is the solo project of Tokyo-based composer, Fujimoto Shunichiro. His work has a timeless richness that is brought to life with acoustic instruments and a laptop computer. Music for a quiet night of contemplation. Charles Rendition is his 5th album.
Pill-Oh – Vanishing Mirror – Kl-010 – 2012
Pill-Oh consists of electronic artist Hior Chronik and classical pianist Zinovia Arvanitidi, both from Greece have been working together since 2009. They each have established solo careers of composing for theater, film, documentaries, and art performances. Zinovia is recording her 2nd solo orchestral album, to be released within 2012. Their album Vanishing Mirror is like the soft and hopeful first-light of a spring day. The feeling is sometimes reflective, but not sentimental. In this music there is restful comfort along with accomplished musicianship. The track Melodico is my favorite.
Szymon Kaliski – From Scattered Accidents – KL-011 – 2012
Szymon Kaliski is a multi-media artist from Poland. From Scattered Accidents is his fourth album. His work combines familiar acoustic and invented instrumentation. His work has a tranquility that often evokes a suspension of time within a vast sonic depth of field.
Interlude I (with Peter Broderick)
The music at Kitchen. Label is never strident, but it can challenge some norms of straight-up ambient, post-classical or electro-acoustic genres. There are even some jazz influences (FJORDNE, especially), yet the compositions are often ethereal and filled with memories of nature and surroundings of daily life—rediscovering the forgotten in the familiar.
Twigs & Yarn – The Language Of Flowers
Flau28 CD – Time: About 43 Minutes (Also available in 12” vinyl LP)
Artists Website: http://www.twigsandyarn.net Record Label Website: http://www.flau.jp
Mastered by: Nick Zammuto: http://www.zammutosound.com
Tracks (*Note: Track order according to iTunes readout appears to be in reverse order, although the music order is correct. The track order that follows is properly sequenced with the sound files on the CD and has been confirmed with the artist.)
1) Laverne; 2) Static Rowing; 3) If Were An Artery; 4) Conscious Strings; 5) Mermaid Wetness; 6) An Honest Moment; 7) Rosy Cheeked Pumpkin; 8) Bristle Of Mundane; 9) Flowers Thirsty; 10) Marigold Ride; 11) Strings Of Complacency; 12) Learning To Glisten
I sometimes listen to shortwave radio, late into the night, or in the early morning, as signals and sleep drift; voices and sounds emerge and disappear. Every so often my radio will lock in on a clear signal, and for a time there are voices from foreign lands, interesting new music, field correspondents reporting, or the strange sounds of open carrier frequencies waiting for a signal to fill them.
The Language Of Flowers is the enchanting (and often quirky) new album by Twigs & Yarn, and it has some parallels to late night radio listening, a mixing of familiar sounds, music and fleeting recollections. Both artists and musicians, Stephen Orsak resides in Texas, and Lauren McMurray is in Japan, and their work takes shape over the airwaves, satellites and international cables via computers and ftp servers. I didn’t discover Twigs & Yarn on my own; I have Michael Cottone of The Green Kingdom to thank for introducing me to their works. I come across new artists by exploring record label websites, visiting the few record shops that are left and (often the best method), word of mouth from musicians and friends. I don’t yet have the LP version, but the CD is packaged in a letter-pressed hand decorated collage (each one is slightly different).
The album opens with the mysteriously diaphanous Laverne, which shimmers like filtered sound-light on a bright morning, then passes quickly into the gentle swaying of Static Rowing. The fourth track Conscious Strings is both the clear reality of a solo acoustic guitar, combined with the meandering voices of a daydream. Some tracks seem to blend together as observations shift, and there is peaceful warmth in the sounds of a given day, whether inward looking as in Mermaid Wetness (with ingeniously repeated cadenced sound-samples) or outward as in the strangely discordant An Honest Moment which merges into street sounds, bells, voices, and then into a tranquil music box and electric guitar reflection in Rosy Cheeked Pumpkin reminiscent of Daniel Lanois’ pedal steel work on his album here is what is.
Bristle Of Mundane is an unexpected contrast, which opens with a heavily-distorted music box, eventually settling into gentle waves. The experience of late night radio listening is present in Flowers Thirsty, tuning in and out from pop-music radio samples to a distant ebb and flow of music and whispers, the mind drifts late into the night, until being awakened by the radio-alarm (this is my favorite piece on the album, mysterious and great keyboard sounds). The gentle pulsing organ of Marigold Ride contains a soft repeated vocal, flowing into acoustic guitar of Strings Of Complacency (sounding a bit like some recent solo guitar work of Ant Phillips combined with light treatments from Eno’s Julie With from the album Before And After Science). Learning To Glisten is the postlude to the album, the purest of all the tracks, with little sonic movement, and is a soothing close.
The Language of Flowers is like rotating a radio tuning knob late at night, or peering into a window overlooking a secret garden, or ephemeral visions in a dream. It’s an assemblage of existence all around, from the broadest landscapes down to the tiniest whispers, and even memories of childhood games as in the gently spirited and delightfully melodic third track, If I Were An Artery. The music, field recordings, samples and instrumentation are assembled with an idiosyncratic aplomb that yield a very cohesive and soothing quality, like a less energetic, more contemplative version of works by The Books combined with gossamers of the dearly departed Sparklehorse. So, it makes complete sense that Nick Zammuto (ex-Book) mastered this album; a symbiotic chemistry.
Caught In The Wake Forever – Against A Simple Wooden Cross
Hibernate Recordings – HB43: Time: 41:27 – Edition of 250 – Cover photo by Chris Gowers
Record Label Website: http://hibernate-recs.co.uk
More background information on the album: http://hibernate-recs.co.uk/releases/caught-in-the-wake-forever-against-a-simple-wooden-cross/
1) Scottish Grief; 2) The Quiet Beauty Of The Northern Lakes; 3) Waiting Rooms & Chemists; 4) After The Blackout; 5) Western Medicine Failed Me; 6) Last Of The Heroin; 7) Point Sands
Caught In The Wake Forever is the nom de plume of Fraser McGowan, who lives in Paisley, Scotland where he composes and records his works at home. McGowan has been recording music in various incarnations since 1998. I recently became acquainted with CITWF’s work through a Hibernate Recordings collaboration with Yellow6 (Jon Attwood), entitled The Slow Manipulation Of Dying Light (now sold out, but digital files are still available for download). And so, I started to dig further…
McGowan’s latest album, Against A Simple Wooden Cross is a surprisingly open and stark account of his recovery from a lifelong affliction with chronic anxiety, and ultimately a complete mental breakdown in 2011. As is often the case, the crash was not only debilitating to him, but also to family and friends (and I suspect the title of the album is a reaction to those who don’t often understand all the circumstances; a feeling of guilt that can also hinder recovery).
Despair and melancholy permeate this album. Recordings vary from a six month period when McGowan was heavily medicated to a time when more effective alternate methods of treatment were found. As a result those pieces are more hopeful as resolve and clarity develop. There is also an ancient and timeless quality to the album (similar to Cock and Swan’s album Stash and other works by Sparklehorse AKA Mark Linkous…oh, I miss ML). In this case, it is the concept that recovery takes time, time for a worthwhile cause—rebuilding a life worth saving, on one’s own terms.
I am also attracted to this album in a similar way that I admire self-examination in the works of East River Pipe (F. M. Cornog); although the songwriting and atmospheric approaches are quite different. In particular, the stark simplicity of penultimate song on the album, Last Of The Heroin. Not being fully aware of all the circumstances (and not wanting to speculate blindly), I have made some notes on some of the tracks, but I think that some interpretation is best left to the individual listener.
Scottish Grief opens with field recordings from a holiday before his breakdown. As the tragic nature of the events is revealed, the piece transforms into a dirge. Conflict grows represented by increasing dissonance and ultimately a shredding electric guitar. Despite dealing with conflicting feelings and thoughts, there is a determination to keep moving and not give up, even at this early stage. The track builds in layers slowly, perhaps symbolic of the pace of treatment, and closes with an excerpt from (what appears to be) a demo where it is evident that hopelessness still weighs heavily.
The Quiet Beauty Of The Northern Lakes opens with a simple rhythm and acoustic guitar, where re-building a life begins. The struggles are evident: “It’s hard to keep a light on…” Eventually, piano and keyboards layer with McGowan’s almost-whispered vocals and a chorus of a Gizmo-like (bowed) electric guitar. Waiting Rooms & Chemists is atmospheric with acoustic guitar, and the feeling of endless waiting and being alone. After The Blackout starts with melodic rhythmic blips and then blends acoustic guitar and vocals. The track is reminiscent of Recorded With You In Mind (from the 2011 EP All The Hurt That Hinders Home**). Western Medicine Failed Me is instrumental, with acoustic guitar and a veil of electric guitar reminiscent of Frippertronics in Robert Fripp’s 1979 album Exposure (that which simmers below the surface).
Point Sands closes the album, and it appears to look back on the beginning of the journey to getting well, and as I understand it, the title of this track is taken from the location heard in the field recordings in Scottish Grief; a pleasant memory perhaps held onto and another piece of the journey back. Some might feel that this album goes too far into the abyss of despair and is too personal, but it is also the case that music such as this occupies a space that seldom gets explored, or even understood, as it is often hushed with whispers.
**Recorded With You In Mind from the EP All The Hurt That Hinders Home:
This is a solicited review.
Lambchop – Mr. M – UPDATED
Merge Records – MRG 434 (CD & LP Versions)
More information and available at: http://www.mergerecords.com/artists/lambchop
CD: Tracks 1) If not I’ll just die, 2) 2B2, 3) Gone tomorrow, 4) Mr. Met, 5) Gar, 6) Nice without mercy, 7) Buttons, 8) The good life (is wasted), 9) Kind of, 10) Betty’s Overture, 11) Never my love
Note: Double LP version has 3 sides with the 11 tracks of the CD and a 4th side with 4 additional tracks, “Guess I’m dumb” and three remixes of selected tracks noted above.
Album is dedicated to: James Victor Chesnutt
Kurt Wagner is a humble and interesting character (and from what I have read) a former flooring contractor, now artist, painter, musician, songwriter…and…human, with all the flaws, working through life in his marvelous songwriting.
I came to Lambchop’s work relatively late (through a lateral association with Vic Chesnutt, Mark Linkous and F. M. Cornog’s works) about 5 years ago when I first heard “The Daily Growl” from the 2002 album “Is a Woman”. I was immediately rapt with the music, instrumentation and the stream-of-consciousness lyrics (coming from a man who sounds like a reluctant singer). In that song alone, I felt and heard a deep inner beauty and from there I immediately acquired as many of Lambchop’s recordings I could get my hands on, back to their first in 1994 “I Hope You’re Sitting Down/Jack’s Tulips”. At times, Wagner’s song lyrics seem to have little relation to the apparent subject matter of a given song, or they form the basis for the emotion being expressed (with distracted interjections), and at times the lyrics form a connective thread for the music (like the song “Paperback Bible” from the 2006 album “Damaged”, which I have read is a transcript from a local Nashville radio station broadcast set to music).
Lambchop’s music is neither country nor folk, nor is it rock or alternative. It’s rather indescribable, yet it is often introspective and has a strong sense of a given moment, emotion or place. “Mr. M” is the eleventh studio album by Lambchop (a collective of musicians centered on Kurt Wagner). The band is a core of familiar players: Scott Martin (drums), Matt Swanson (bass), Ryan Norris (guitar and organ), William Tyler (guitar) with guests (original co-founder) Jonathan Marx (credited with “noises”), Cortney Tidwell (vocals and collaborator on their KORT project) and others (see link to Merge Records above).
Gone Tomorrow (official video):
2B2 (official video):
Apparently, for a time Wagner considered not recording again until he was convinced by friends (including producer Mark Nevers) to go back into the studio. Wagner was painting and doing other things prior to writing the songs and working on the recording (the album was recorded from 2009 to 2011). Wagner’s paintings form the basis for the album’s artwork, from a series of black and white (heavy brush stroke) paintings entitled “Beautillion Militaire 2000”. “Mr. M”, while another in the canon of rather quiet and contemplative works by Lambchop, is an appropriate and loving tribute to Vic Chesnutt.
In this work the lyrics vary from literal heartbreak to ironic wordplay and at times are layered with references to song arrangements having an effect (in real time) on Wagner, random thoughts, daily routines and things as mundane (yet real) as a coffee maker or trash on the motorway. The instrumental “Gar” is a gorgeous and timeless interlude at the heart of the album, beautifully arranged with strings, woodwinds and Cortney Tidwell’s harmonic layered vocals. “The Good Life” is reminiscent of Johnny Cash’s works of self-examination. In some ways this album has a similar spirit of introspection and sound to Nick Drake’s “Bryter Layter”—another album of observations, hope, dreams and deep reflections. Some may say that “Mr. M” is rather sleepy, but I think it’s a soul-cleansing meditation with many layers of symbolism to be discovered and understood as one listens more. The strings and woodwinds arrangements are just right (similar to Robert Kirby’s on Drake’s “Bryter Layter”).
I am thankful that Kurt Wagner and Lambchop decided to make music again.