Album Reviews

White Lies 'Ritual'

editor@cluas.com — Sat, 26 Feb 2011 00:00:00 GMT

A review of the album 'Ritual' by White Lies

Review Snapshot: Has the second album curse taken its next victim? White Lies' new release promises big with some of the biggest names in indie lending a hand along the way. But can the champions of nu-shoe gaze really deliver on the follow up to ‘To Lose My Life’?.

The Cluas Verdict? 3 out of 10

Full Review: White Lies' new release ‘Rituals’ appear to be just that, a ritual. It's as if they took their previous effort ‘To Lose My Life’ - songs about love, songs about death - changed the wording around a bit, a dash more synths and, voila, album number two is born.

Songs about love and death mean nothing if no feelings are involved. It could be said that their style of expressionless vocals explains the lack of emotion in these songs and those in previous recordings. That is until you compare them with lead vocalists of bands in a similar vein, such as Joy Division, Interpol and Editors. In these cases the dead pan style manges to enhance the raw emotion of the lyrics. This is just not the case here with White Lies.

When any real insight seems to be gained from the nonsensical lyrics its message is vague. All in all, quite frustrating for the listener. The sense of frustration continues with its little bit of head banging here, some fist pumps there. What missing on 'Rituals' are the stand out tracks that littered ‘To Lose My Life’. Here by comparision it is difficult to decipher the songs from one another.

The record, with 10 tracks averaging at 5 minutes apiece, runs a little long for its content. Don’t be misled though, this album is crammed with catchy hooks and melodies. The album's euphoric debut single ‘Bigger Than Us’ is filled with whirling guitar and a pounding drum backing the refrain “I want you to hold me, and I want you to pray”. For a gloomy rock trio they can really put out the radio friendly tracks.

This only leads to the conclusion that this is a band that knows exactly what they’re doing, there’s not a hair out of place. Every word, no matter now nonsensical, is put there intently and purposefully. It's a pity they take themselves far too seriously to allow a simple thing like poetic insight or sentiments hold them back.

In recent interviews the band has firmly set their sights on global domination. Stints supporting Kings of Leon on their American tour the band appear to have gotten a taste for the high life, literally. Say what you will about Kings of Leon, but they have the back catalogue to back up any success that has come their way. White Lies on the other hand seem to believe that this kind of fame is owed to them. In the cut throat music industry it should be a well established fact that bands don’t necessarily get their dues, and does two frankly mediocre albums really equal global success to rival Kings?

They appear to have the ambition and determination required for a band to succeed. What they lack is heart.

Katie Murphy

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Tubelord 'Our First American Friends'

editor@cluas.com — Fri, 28 Jan 2011 00:00:00 GMT

A review of the album 'Our First American Friends' by Tubelord

Review Snapshot: The debut album by Cockney math rockers Tubelord and is somewhat of a gem amongst a genre in which bands often find it difficult to stand out from the crowd.

The Cluas Verdict? 8 out of 10

Full Review: Tubelord are already well known on the Irish alternative scene having gigged in a number of Irish cities. It's good to see they manage to capture the same energy on 'Our First American Friends, their debut album, as they do live.

In the UK the band has also been gaining quite a reputation where their first single 'Feed Me A Box of Words' was very well received by critics. 'Our First American Friends' was also well recieved in Rock Sound magazine, amongst others.

Mixing a blend of cracking harmonies, upbeat melodies and seemingly endless time changes, the album keeps forever you on your toes. Often single songs include five or six completely different tracks sublimely stitched together, so much so that one could land oneself in an entirely different tune without even noticing.

my personal favorite on the album, starting slowly before building up to a climax of overdrive and screaming harmonies, is the track 'I Am Azerrad'. However while buried in the tune - the song itself a reference to the band's distaste of journalist Michael Azerrad - it's easy to lose track of the lyrics which inlcude lines such as 'Can you feel the back of my head please? / I think the screws are rattling loose'. .

One of the main reasons this album shines out amongst releases by other math rockers is the superb drumming of David Catmur. In songs that change beat regularly at the drop of a hat; it's Catmur's touch that allows these seamless transitions, as well as being able to change tempo without fuss, both in the studio and live.

'Cows to the East, Cities to the West', which follows 'I Am Azerrad', changes the tone completely, playing more like a lullaby then an indie track.

The album starts and ends with the line 'Sleep, it's over' which ironically is the last thing one would want to do when the CD comes out of the disc tray.

Kevin Galvin

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The Cast of Cheers 'Chariot'

editor@cluas.com — Fri, 28 Jan 2011 00:00:00 GMT

A review of the album 'Chariot' by The Cast of Cheers

Review Snapshot: A band that’s made many Top of 2010 lists (including my own) and now has been shortlisted for the Choice Music Prize. It’s a wonder The Cast of Cheers have come so far with little or no promotion. After all many people are still wondering where this Irish four-piece came from? And where can they get a hold of the album?

The Cluas Verdict? 10 out of 10

Full Review: You’ll be hard pushed to find a negative review of this album or of these guys live, they just steal your music players and the stage leaving you crave more of their addictive math rock tinged with indie-pop influences. It is a cross-over few would dare to try and even fewer would succeed in achieving.

The Cast of Cheers have proven time and again that they are set for big things with their catchy choruses and irresistible guitar melodies. Host to such a dynamic range of sound, you’re never completely sure what genre this band are trying to draw from.

Their ruthlessly infectious bass lines (complemented with one of the tightest drummers to come out of Ireland) has them taking a similar direction as Battles. The lead vocals of Conor Adams are pleasantly laced with crunchy distortion that adds rough edges to most of their songs, except when he hits back with the reverb in the likes of ‘Deceptapunk’.

Vibrant with a punkish attitude that pushes the levels of experimentalism to its limits (whilst jerking it back and forth so speedily with the help of loop pedals) you can’t help but look on in awe when they take a stage. Indeed you can’t say you’ve heard The Cast of Cheers until you’ve seen them live but this act translates so well onto a record that you won't be disappointed with their recorded output. The swift pace and infectious offerings from songs like ‘Tip the Can’ and ‘Derp’ will have you dancing alongside many others before you can say "The Cast of Cheers? My new favourite band".

The Cast of Cheers are one band to watch in 2011. Hopefully it's a year that will see a new release from them with their groundbreaking sound, and with their growing level of success why wouldn’t there be? But for now, go and get their debut ‘Chariot’ for free online (either from Soundcloud or Banclamp) and sit back and enjoy (that is, if they don’t have you on your feet in minutes). And as you do you may wonder why they keep on singing the line “Is there any f**king love in here?”...

Greg Synnott

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The Decemberists 'The King is Dead'

editor@cluas.com — Fri, 14 Jan 2011 00:00:00 GMT

A review of the album 'The King is Dead' by The Decemberists

Review Snapshot: Casual listeners to the Decemberists will be glad to learn that the group's sixth album, ‘The King is Dead’, is a return to their folksy beginnings, combining the group's not inconsiderable musical talents and country rock sensibilities with the inimitable voice and witticisms of front man Colin Meloy. And without an enchanted forest or pantomime villain in sight, perhaps we can all get back to liking them again.

The Cluas Verdict? 8 out of 10

Full Review: It required a decidedly hardcore Decemberists fan to remain loyal to the Portland outfit following the inexplicable 2009 album ‘Hazards of Love’. A concept album about a forbidden relationship in a forest of the lead singer’s imagination, 'Hazards of Love' was an unremittingly self-indulgent project by the group that only served to repel the occasional listener and furthermore give the bands detractors, who had dismissed them as an arrogant bunch of sods, a fair amount of credibility.

Of course it is not difficult to understand the band's flirtation with the concept album. After all, Meloy’s ability to spin a yarn is essentially the band's chief strength. The problem with ‘Hazards of Love’ however, was that it was outrageously complex and at times pretty boring. You basically needed a degree in English and a s**t load of time on your hands to get what the story was about and when you did the payoff didn’t seem worth it. At the end of the day there is nothing wrong with a bit of ambition, but don’t take the piss.

We can forgive them one blunder though and accept that 'Hazards of Love' is to the Decemberists what a gap year is to a student. And to their credit the group seem to have learned their lesson with ‘The King is Dead’ retreating to safe ground and a more conventional format.

Peter Buck of REM was brought in for three tracks and his involvement does not go unnoticed. The opening riff of ‘Calamity Song’ is quite similar to that of REM’s ‘Talk about the Passion’ from their seminal album ‘Murmur’ all those years ago, while lead single ‘Down by the Water’ sounds like a cross between the aforementioned rock pioneers and Springsteen. It is as awesome as a mixture of those two ought to be.

At times the album feels light and breezy with the sing a long ‘Don’t Carry it All’ and ‘All Arise’, only to turn deeply intimate and touching with the ballads ‘January Hymn’ and ‘June Hymn’ which are arguably two of the group's best songs to date. They really ground the record before it gets a little too light and breezy and floats out of mind.

It is also a good deal more country sounding than previous records, with harmonica and steel guitar making appearances from time to time. But the Decemberists could play death metal and still be distinctive so unique is the voice and lyrics of their front man. For example on ‘Rox in the Box’ he sings:

“Get the Rox in the box / Get the Water right down to your socks / This Bulkhead’s built of fallen brethren bones”

It is difficult to imagine anyone else writing those lyrics about the workaday world and have it taken seriously. But there is sincerity to the offering, as Meloy sings throughout about finding your way through this mean old world.

The record is instantly likeable and more so with each listen. Even when placed beside past glories, ‘The Crane Wife’ and ‘Picaresque’, their latest holds its own. There was a lot riding on this album for the band and in fairness to them, they really have delivered.

And so another chapter is written in the annals of the Decemberists: They came, they saw, they conquered, they made a concept album and then they conquered again.

Kevin Boyle

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Hipster Youth 'Teenage Elders'

editor@cluas.com — Fri, 17 Dec 2010 00:00:00 GMT

A review of the album 'Teenage Elders' by Hipster Youth

Review Snapshot: Teenage Elders captures the chaos of a Castlevania soundtrack without ever considering the likely effect upon its audience. A bad Nintendo acid trip of an album, lost in the one-dimensional platforms that inspired its inception.

The Cluas Verdict? 3 out of 10

Full Review: In a business overrun with insipid intertextual references, artists should really exercise caution when they wander into the realms of retro. The advent of postmodernism opened up the floodgates of creative recycling, with the old and the new intermingling in an array of previously inconceivable combinations. At best, the trend presented the possibility of redefining the cultural relics of the past through novel hybrid forms. At worst, the market merely capitalised on the success of a few innovators, producing a litany of carbon copies in their wake.

Dublin-based artist Hipster Youth unfortunately finds himself in the latter category. His brand of Nintendo-esque electro follows in the footsteps of Crystal Castles but ultimately lacks the substance necessary to escape the confines of Castlevania. While the Atari samples became a defining characteristic of the CC sound, they transcended such a pernicious pigeon-hole by expanding their electronic horizons. In contrast, Hipster Youth’s debut Teenage Elders fails to clear the first level, lost in nostalgic waves of Mario-style synthesisers and poorly-produced backing tracks.

The collection suffers from a series of off-key vocal lines, ear-piercing drum machine loops and a compulsion to rely solely upon the video game theme without ever venturing into new territories. At times, songs introduce clever instrument combinations only to fall victim to fatalistic flaws. The chiming cadence of kettle drums that opens “Crying outside clubs” produces a memorable melody and initially felt like a turning point in an album struggling to find its way. Alas, the sonorous start is subsequently drowned out by a jagged and persistent beat mimicking the dissonance of a broken speaker. Lacking any conceivable progression, the track merely trawls through repetitious patterns and discordant vocals until its conclusion.

Other tracks display an unrefined talent lying dormant under a surface of inexperience. “Pop song for those with short attention spans” (listen to it below) features an intriguing medley of electronic samples that is sadly suppressed by the plastic snare beat and incomprehensible vocals. Similarly, “Super Fun Hipster Suicide Party” crafts a catchy and uplifting refrain in the opening bars but abandons any notion of developing the loop; content with recycling the twenty-second effort for the duration. Instrumental tracks such as “Little Lost Bear” and “I lost my corpse paint” merely replicate their source material, serving as nothing more than soundtracks to old Gameboy platformers.

Akin to the games that it emulates, Teenage Elders is irrevocably one-dimensional, consistently burying arresting arrangements beneath unimaginative 80s synths and banal beats. While each song contains at least one enamouring section, they ultimately fail to sustain the forward momentum necessary to warrant that all-important second spin. In retreating to the comfort zone of the Castlevania sound, the collection confines itself to the nostalgic sentimentalities of a transient trend in modern music, offering little else to its audience. In a genre of limitless possibilities, electro should be the soundtrack of the future and not a record of the past.

John Ryan

Hipster Youth - Pop song for those with short attention spans by lizpelly

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Bruce Springsteen 'The Promise'

editor@cluas.com — Fri, 10 Dec 2010 00:00:00 GMT

A review of the album 'The Promise' by Bruce Springsteen

Review Snapshot: An album of lost sessions from Darkness On The Edge Of Town that any of today’s pretenders to the throne would die-for. A collection of songs that ‘The Boss’ couldn’t find album space for now sees the light of day, over three decades later. It has certainly been well worth the wait.

The Cluas Verdict? 7 out of 10

Full Review: After being proclaimed “the future of rock‘n’roll” in 1975 following the commercial success of Born To Run, Bruce Springsteen went back to the drawing board to dream it all up again. However due to legal disputes he was unable to release any new material until 1978’s Darkness On The Edge Of Town. What you’ve got here are 22 songs that chronologically belong between those two albums.

Described by The Boss himself as “a great lost work recovered”, this album opens with ‘Racing In The Street’, an alternative version to the Darkness album track, this time with piano, violin and harmonica dominant , and with original lyrics like “32 Ford” (instead of the eventual 69 Chevy) that was never going to sound right.

'Outside Looking In’ sounds like a Buddy Holly b-side with that raunchy Springsteen vocal and Clemons trademark saxophone all over it, while ‘Someday (We’ll Be Together’ is a tale of romantic optimism with beautiful harmonies that’s very gentle on the ear.

‘Because The Night’, a song synonymous with Patti Smith is here in its original version and, although the Boss wrote it, I personally think it doesn’t match the quality of the version we’ve become accustomed to.

On Disc 2 there’s ‘Fire’, another Bruce song that the Pointer Sisters would enjoy success with, but this was the closest Springsteen would come to “pop music” in the late 70s. He tips his hat to Sam Cooke on ‘Ain’t Good Enough For You’, sounding remarkably like ‘Twistin The Night Away’.

If you listen carefully to the opening lines of ‘Spanish Eyes’, you’ll recognize the lyrics but not the song. These would later become part of the brilliant ‘I’m On Fire’ in the 80s.

We’re brought right back to the 70s on ‘Come On (Let’s Go Tonight)’, a song he wrote about the then recently deceased Elvis Presley. It would later become ‘Factory’ for the next album. Talk To Me’ is a brass orientated, infectious up-tempo number that wouldn’t be out of place at a Seeger Sessions concert.

There’s no shortage of classic story-telling numbers either. On ‘Breakaway’ there’s Sonny, Jamie and Bobby to add to his list of characters in song, and on the title track it’s Johnny, Billy and Terry.

‘The Promise’ is indeed one of the many highlights on here, and is effectively a ‘Thunder Road (Part II)' and just as good. If you thought 21 songs wasn’t enough, there’s even a hidden track, ‘The Way’, which is beautiful and worthy of being visible.

Die-hard ‘Boss’ fans will love this collection even if some of the tracks have been updated but these songs did form the basis for 'Darkness…' and Springsteen still believes he released the best songs 32 years ago. For many of his contempories they’d die for even one of these left-over songs.

Another impressive selection from New Jersey's greatest.

Mick Lynch

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Les Shelleys 'Les Shelleys'

editor@cluas.com — Thu, 09 Dec 2010 00:00:00 GMT

A review of the debut album from Les Shelleys

Review Snapshot: This is the debut album from the duo of Tom Brosseau and Angela Correa otherwise known as Les Shelleys. What you get here is a simple stripped down and very raw album full of impressive harmonies and some very high points. It does seem to lose its way towards the end but its still well worth a listen and I'm sure the live act would be very interesting to see.

The Cluas Verdict? 6 out of 10

Full Review: The album starts with the simplistic minimalist "The world is waiting for sunrise" (listen to the track below) which not only sets the tone for the rest of the album but is one of the strongest tracks here. The core of Les Shelleys sound is how the voices of Brosseau and Correa compliment each other. The is no chance of any over production here; the album was recorded on a mini-disk player on a kitchen table in a Los Angeles home with a battery powered microphone. "Green Door" is another gem that takes the simplicity to another level entirely.

At times Brosseau sounds like Ray Davies ('Cocktails for Two') but in fairness, he does do a good job at it! The cover of The Andrew Sisters' "Rum and Coca Cola" is probably the strongest song here: it's catchy and the harmonies work perfectly. Listen to it couple of times and it will stay stuck in your head:

Drinkin' Rum and Coca Cola,
Go down point Koommahnah,
Both mother and daughter,
Workin' for the yankee dollar.

From here on, things start to go downhill, the Dylan cover of "The Lonesome Death Of Hattie Caroll" is largely disappointing. I can understand that they didn't want to do a cover that was exactly the same as the original but their take on this classic is way too far away from the original. Removing the chorus was not a great move either.

The rest of the album remains generally consistent, by now the listener knows what to expect. But that's not necessarily a bad thing. The harmonies are done well in "Pastures of Plenty" by Woody Guthrie, another key track.

Overall, an enjoyable album, something different to what I'd normally be used to. A breath of fresh air.

Some of these tracks sound like they came straight from a Jason Reitman film and, who knows, some day they might be.

Éanna Canavan

Les Shelleys - The World Is Waiting For The Sunrise by FatCat Records

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Ayoe Angelica 'Dandelion'

editor@cluas.com — Wed, 08 Dec 2010 00:00:00 GMT

A review of the album 'Dandelion' by Ayoe Angelica

Review Snapshot: A wise academic once professed that true art should be recognised for its aesthetic value rather than any contrite notion of commercial viability. Ayoe Angelica personifies this perspective, producing an enchanting collection of songs that captures the spontaneity and experimental side of the artistic process.

The Cluas Verdict? 7 out of 10

Full Review: In a consumer-driven industry, the artistic quest for originality seems to have taken a backseat to the marketable value of music. Many virtuous acts venture into the depths of big business determined to preserve their integrity only to bow to the burden of systematic sales targets and creative constraints. Our hopes lie with the treasured few who flee from the arid mainstream in favour of the road less travelled. Genre-defying Danish singer Ayoe Angelica is one such individual.

Joining forces with multi-instrumentalist B.B Krog, the pair produced a poignant and multi-dimensional debut in the form of 2008’s I’m Amazed; an album that tastefully balanced elements of electronica, jazz and downtempo without necessarily claiming any particular label. Two years later, their second effort, 'Dandelion', is an affirmation of artistry, melding the musical melancholy of Portishead with the salacious side of early R'n’B.

The candescent “Cupid” is a smooth and lugubrious conflation of genres, unfolding and evolving with each passing second. The track opens in a downtempo vein reminiscent of Massive Attack’s collaborations with Liz Fraser, with a moog organ bringing a touch of seventies soul to proceedings. The middle section comes straight out of left field with a searing slice of shred guitar plucked from the fingertips of an 80s virtuoso. Ayoe’s loquacious lyrics carry a certain cabaret charm, counterpointing Krog’s introspective instrumentation.

The individuality of each rhythm track slowly surfaces with each sequential spin. Not content to merely surrender to the mechanisms of a drum machine, Krog crafts a beat for each song by sowing several percussive samples together. “Make a lap” draws out the taut intonations of a double bass, creating the perfect 50’s shuffle for Ayoe’s vaudeville-like vocals.

“Plenty more fish” forms an intriguing intersection between R'n’B and contemporary electro. The call and response intro unfolds into a rhapsodic verse, akin to Rihanna’s current output. The lower frequencies reveal the organic sound of a double bass sliding amorously up the minor scale, while high above orchestral samples weave with a tapestry of textured tones.

“Girls are like apples” tumbles down the rabbit hole into the labyrthine lair of experimental electronica, replete with pitch-shifted vocals and hauntingly repetitious harmonies. The minor melodies bear a passing resemblance to the macabre meanderings of Danny Elfman, capturing the lighter side of the gothic sound.

The slowing burning “Quiet Cafes” reveals Ayoe’s traditional roots, with the waltzing rhythm adding a touch of country to this sonorous serenade. The track gradually reveals its jazz sensibilities, peeking in the middle with a lounge-style saxophone solo harmonising with the main vocal melody. The pair’s divergence from the electronica template here highlights their versatility as songwriters. They display an uncanny capacity to transcend the conventionally concrete boundaries between genres, producing a multi-faceted sound that is complex and yet accessible.

A wise academic once professed that true art should be recognised for its aesthetic value rather than any contrite notion of commercial viability. Ayoe and Krog personify this perspective, producing an enchanting collection of songs that captures the spontaneity and experimental side of the artistic process. And by abandoning the concern of appealing to everyone, the duo comes closer to the goal than most musical merchants.

John Ryan

Ayoe Angelica - Dandelion by Playground Music

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Elliot Smith 'An Introduction to...'

editor@cluas.com — Tue, 07 Dec 2010 00:00:00 GMT

A review of the album 'An Introduction to' by Elliot Smith

Review Snapshot: A number of seminal musicians emerged in the early 90s and died prematurely and where many of those musicians pushed the dynamics of their genres, Elliot Smith’s legacy was achieved via a house style that’s about as common as it gets: one man and his guitar. It’s now been seven years since the world lost something quietly elegant: a singer-songwriter gone before his time. This release is strongly recommended for those who have yet to pick at the surface of Elliot Smith.

The Cluas Verdict? 8 out of 10

Full Review: Elliot Smith was one of the greatest songwriters of our era and for his dedicated fan-base, every album was the soundtrack to a new chapter in the singer's always troubled life. However this album offers nothing new for existing fans - nothing unreleased, nothing live and thought to be lost to the sound desk.

Yet, as its title makes clear, this release is intended as an introduction to Elliot Smith and it can succeed in what it has set out to do: drawing in a new generation of fans that may one day find themselves in a record store reaching out for more Elliot Smith.

Presented in no chronological order this collection focuses heavily on Smith’s earlier releases, his “hits” if you can call them that, and hosts some of his heavier, emotional tracks like 'Miss Misery' and 'Between the Bars': songs so personal, so engaging that some first time listeners may find them too heavy a load to handle.

As is the way with an album such as this, 'An Introduction to…' will invite more familiar listeners to simply scrutinize what they might consider sins of omission, like I have. But that is not the point. This is an opportunity for new ears to discover Elliot Smith, an opportunity for those new to his charms to scratch the surface of his work, to understand how conflicted he once sounded and experience his love of singing of a girl "who made her life a lie so she’d never have to know anyone".

If you’ve yet to pick at the surface of Elliot Smith, get this album. For those who already have a few Elliot Smith releases in their collection, give this a miss and instead go listen to 'Figure 8'.

Greg Synnott

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Silje Nes 'Opticks'

editor@cluas.com — Sat, 04 Dec 2010 00:00:00 GMT

A review of the album 'Opticks' by Silje Nes

Review Snapshot: The Norwegian singer’s second album, Opticks, is a triumph in delicacy.

The Cluas Verdict? 7.5 out of 10

Full Review: Alongside flat packed furniture and, eh, I don’t know, fish, Scandinavia has also been exporting its fair share of singer songwriters over the last decade. And despite my blatant ignorance of the region, I do at least know that they tend to follow something of a formula. Scandinavian music, with notable exceptions of course, is often characterised by distant, dreamy voices and meandering musical pieces, usually involving minimal guitar riffs. And a fair amount of these folks have been classically trained. Ólöf Arnalds sophomore album received a glowing review on Cluas earlier in the year and she was classically trained in violin and singing. Silje Nes was classically trained in piano. The point is that these are talented and well educated artists.

Opticks is born of this great Scandinavian tradition, it is fragmented, deceptively simple and like a wardrobe from Ikea, it takes a little time to piece it together.

All crass Scandinavian conventions aside, this really is something of a hidden gem. The artistic strength - and consequently the commercial weakness - of the record is its subtlety. Nes’ voice rarely rises above a whisper and it has the rare ability to sound at once distant and at the same time immediately intimate, drawing comparison to the style of Hope Sandoval of Mazzy Star. ‘The Grass Harp’ is the finest album opener of any album I have heard this year. It begins as fragile guitar picking and gentle humming before turning into a beautifully controlled chorus. Throughout the album Silje Nes shows remarkable talent for conjuring charming choruses out of nothing, ‘The Card House’ is a particular highlight.

Opticks is for a bus journey as you stare out the window, occasionally deep in thought but for the most part happily vacant. It is not quite the heart-on-the-sleeve brand of songwriting that has been prevalent in many of this year’s releases (Band of Horses, Kings of Leon, Midlake), preferring a more introspective examination of love, romance and escape. But it really isn’t about what she’s singing, rather how she is singing it. The romantic notions are amiable, though not all that poetic. What is poetic though is her soft voice over the lazy guitars and considerate percussion, lulling the listener into a trance like state, where the words no longer even matter.

‘Symmetry of Empty Space’ and the final track ‘Ruby Red’ are other highlights, though isolated from the album they would be diminished in their impact somewhat. After all Nes seems to be an artist who still reveres the sanctity of the album format and as a result this flows as a piece very well.

Opticks will not end up in many of the esteemed end of year lists that folks make. Nor will it likely make a killing on album sales, or even enjoy the fleeting popularity that alternative artists with softly sung songs sometimes achieve (like Bon Iver or Damien Rice). However it is a beautifully created album that deserves attention.

Kevin Boyle

Silje Nes - Branches by FatCat Records

Silje Nes - Crystals by FatCat Records

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