From a perhaps overzealous endorsement of this album I posted on another site a few years ago, only the final paragraph is worthy of reproduction here:
This is rock music with beauty as it’s defining characteristic; sophisticated, wondrously arranged stuff that can be played softly or loudly to equally enjoyable effect. Songs that straddle the lands of “dark” and “catchy”, two musical land masses which I previously thought didn’t share a border. This is music which doesn’t employ hooks but tendrils, the more deftly and permanently to attach itself to your brain. And once it’s there you’ll be glad of it, except for the itch you’ll feel to turn everyone else on to the perfection you now hear.
This album does indeed wrap itself around you, bathing you in its dark, morose glories.
Samples of the record’s gloomy lyrical vocabulary:
However, it’s the unlikely pairing of the album’s dark vision with glorious harmonies and beautiful arrangements that makes it so unique. If any other band comes to mind listening to Blackfield II it might be Pink Floyd. But mostly this band is an original, and have forged their own sound, inhabiting a place at the crossroads of the melodic and the melanic.
Blackfield is the duo of Brit Steven Wilson (of Porcupine Tree and a dozen or so side projects) and Aviv Geffen, a renowned and somewhat controverisal Israeli pop/rock icon. It would seem a unlikely pairing, but musically their compatibility is undeniable.
Libera: “Do Not Stand at My Grave and Weep” (2004)
I won’t list all the accomplishments and accolades this all-boy choir from south London have garnered–you can Google them and read it in detail elsewhere. But worth two and a half minutes of your time here is their treatment of Mary Elizabeth Frye’s poem from 1932.
I don’t know if I’ve ever been as powerfully moved by a piece of music as I was listening to this after the loss of a loved one. I hope you find comfort in this song sometime in your life. Keep it with you.
Do not stand at my grave and weep
I am not there, I do not sleep
I am a thousand winds that blow
I am the diamond glint on snow
I am the sunlight on ripened grain
I am the gentle, gentle autumn rain
Do not stand at my grave and weep
I am not there, I do not sleep
When you awake in the morning hush
I am the swift uplifting rush
Of quiet birds in circling flight
I am the soft, soft starlight, starlight at night
Do not stand at my grave and weep
I am not there, I do not sleep.
Matthew Sweet, Shawn Mullins and Pete Droge found common ground in the California country rock sound on their self-titled one-off collaborative album as The Thorns in 2003. It may call to mind CSN, early Dan Fogelberg or The Jayhawks (whose classic song “Blue” is covered on the album). Maybe it’s down to the close-harmony type of bands they’re emulating here, but it’s impressive how three established, distinctive solo artists can sound like they’ve always been a band.
“The sun never looked so pretty goin’ down”…and you can hear that sunset in the music. Nicely done.
Chicago’s Michael Peter Smith, not to be confused with Christian pop singer Michael W. Smith, is a folk singer and songwriter of rare humor, insight and emotional gravity. Here he leans toward the humor. “Zippy” is a cheeky cautionary missive to the boomers, a word of warning about how their once laid back world is spinning a little faster now.