Last week I had a quiet week and got in three reviews. This week was the opposite, as multiple evening engagements kept me away from the keyboard. My sincere apologies, Dear Reader, for the resulting lack of reading material for you. I hope the rest of the Internet was able to fill in the gap or, better still, maybe you picked up a book.
Disc 1522 is…. Californian Soil
Artist: London Grammar
Year of Release: 2021
What’s up with the Cover? Lead singer Hannah Reid crouches elfin-like on some mysterious island. There is a serious fantasy vibe here in a “the Lady Galadriel will inspire you with her powerful magicks” kind of way. As opposed to the Gollum, “here’s where I discard the bones of my victims” kind of way. Both possess rings of power, but we all know which one we want to run into when lost in a series of orc caves.
But I digress…
How I Came To Know It: I read a review of this record and then listened to a couple songs. Despite initially thinking that this was “not my usual thing” I was intrigued and gave the whole record a go. And here we are. It’s an old story, but it’s a new record.
How It Stacks Up: This is my only London Grammar record. They’ve put out three, but I’m new to the game, so for now, there is nothing to stack up.
Ratings: 4 stars
With its anthemic orchestral pop with a touch of dance beat, I had originally intended to start this review off with the observation that London Grammar is not the kind of band that would typically fall within my wheelhouse. However, the more I listened the more I realized they were just at a new juncture well within a well-established Venn diagram of “stuff Logan likes”. Their sound is a mix of the Eurythmics, Florence + the Machine and a liberal helping of Loreena McKennitt; all bands that you will find well regarded on the CD Odyssey.
Any successful pop act needs a great singer and Hannah Reid is a revelation. She has that mysterious airy power of Loreena McKennitt, the natural groove of Annie Lennox and the ethereal flutter of Florence Welch. It is a joy to listen to her, although I do not recommend you try to sing along. These are complicated songs full of range and not to be undertaken by amateurs. Also, how the hell will you hear all that beauty if you don’t still yourself and let it flow over you?
“Californian Soil” the most ‘synthy’ of London Grammar albums, and it has that fullness of sound that can sometimes puts me off. Not in this case, though, where the hum of organ in the background just gives the song its orchestral quality, leaving you the impression that Something Important is happening. Even the use of drum machine didn’t bother me, being so well woven into the overall effect. It is like you are lost in the woods and stumble upon some elves who have decided to go electric.
This kind of music can also suffer from a loss of honest emotion, but that does not happen here. Reid’s vocal power won’t allow it, and while the lyrics aren’t the height of poetry, they are exactly the level of poetic necessary to ride the waves of soaring melody. Even the presence of dance beats in many of the tunes doesn’t make them feel empty, it just means you can enjoy the record equally well dancing along under a glitter ball or sitting on a living room couch and having a good sigh.
Within this unified sound London Grammar finds plenty of dynamic range. There is the R&B groove of “Missing”, synth-diva pop of “Lord It’s a Feeling”, the sexy late-night yearning of “Call Your Friends” and something that is mid-way between a thoughtful song on the subject of betrayal and an energized dance tune (“How Does it Feel”). On “I Need the Night” they seem to cross the Gothic horror of Ghost with the production and delivery of later Echo and the Bunnymen. In short, be prepared to enjoy the record in multiple ways.
“Californian Soil” ends with the stripped-down “America”, which is just a couple of guitars and Reid doing her magic on the mic. It is as though London Grammar wanted to prove the point that they can set aside all the synthesizers, drum samples and production tricks, and still kick ass. Every time Reid sings the chorus of “But all of our time chasing America/But she never had a home for me” it raises the hairs on the back of my neck. Tone, power and pure honesty in one package. Point proven.
After multiple listens I liked the record so much, I delved into their back catalogue. I liked both their previous albums enough to put them on my “to get” list. I have a feeling when the collection is complete, “Californian Soil” will still come out on top. It is an amazing collection of music that is good for all occasions.
Best tracks: Californian Soil, Missing, Lord It’s a Feeling, Call Your Friends, I Need the Night, America
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