CD Odyssey Disc 1930: London Grammar

I’m into my second week of having one plugged ear. For a music enthusiast this is high on the list of illnesses to avoid, but the doctor assures me it is temporary, so we soldier on. The next campaign finds us in…London!

Disc 1930 is…Truth is a Beautiful Thing

Artist: London Grammar

Year of Release: 2017

What’s up with the Cover? The band, wearing non-descript expressions to match their non-descript clothes on what is, overall, a very non-descript cover.

The overlapping As and Ms in the band’s name is as exciting as we get here.

How I Came To Know It: I first discovered London Grammar in 2021 when they released “Californian Soul” (reviewed back at Disc 1522).

“Truth is a Beautiful Thing” was just me drilling into their back catalogue after the hook was set.

How It Stacks Up: I have four London Grammar albums which, as of right now, is all of them. Of those I put “Truth is a Beautiful Thing” in at #2.

Ratings: 3 stars but almost 4

London Grammar are a pop trio that have learned the valuable lesson that a wall of sound doesn’t have to sound busy. Done right, it can be uplifting and anthemic.

It helps to have a great vocalist, and London Grammar is blessed with one of the best in Hannah Reid. Effortlessly powerful in even the highest ranges, Reid never feels like she’s striving to a hit a note, and reminded me favourably of Florence Welch or Loreena McKennitt, but with an even more pure pop tone.

Many of the songs start on a note that most singers couldn’t land on their best day and then climbs from there. Each time you think she can’t land something another layer up, there she is, looking down from the heights of another octave, lightly warbling at you. She’s like a brightly coloured bird that knows you can’t reach the branch it’s on and so feels safe enough to show off.

This is the record’s not-so-secret weapon, but the band wisely builds songs around her that showcase her instrument. A lot of the rest of these songs are slow jam beats and basslines, giving you a launch point that let’s you appreciate just high these songs end up climbing. The arrangement doubles down on the effect, keeping the midrange elements a bit further back in the mix. The effect pulls you in both directions with a languorous stretch of sound. It’s the auditory version of a cat stretching its back at full extension.

As for what is going on lyrically, I had a hard time paying attention. The songs are very good at artfully repeating a refrain, but more for an emotional resonance than for a narrative purpose. “Everyone Else” is a fine example, with a slow jam dance back beat, and Reid repeatedly singing

“Everyone else knows why
Everyone else knows why
Look what you’ve done.”

Sure there are other lines, but there aren’t many and they mostly just evoke primal images like fire and colours and storms. Lyrically driven as I often am, I surprisingly had no complaints, as the evocative imagery and the power of Reid’s vocals make everything feel more important than it is anyway.

While the record doesn’t always hold long narrative stories, the imagery is strong, and I didn’t mind not always feeling like there would be a story to every song. “Bones of Ribbon” probably has something going on at the beach (i.e., there’s sand), but it is more how the song makes you feel than where it takes place.

If there is any drawback it would be that the music can feel obvious in places, but even then it is a good obvious. A few basic piano chords can do wonders, particularly when the ambient sound behind it helps it echo through the tune. I didn’t find myself wishing for more empty space between the notes, because the band wisely uses only a few ingredients, blows them out to their greatest effect, and then stops adding stuff. I found myself thinking fondly of Enya records of yesteryear and wondering if these talented kids had found any in their parents’ record collections. I hope so.

Most of all, this record made me chill out. On my way to work I was caught behind a car going 20 in a 30 zone. Kilometers. I shit you not. Yet, driving behind this villainous commuter, while listening to “Who Am I” I was perfectly happy to get my chill on and take Hannah’s advice to “try my best/to fit in with the rest”. Good tidings to you, fellow traveler!

Best tracks: Wild Eyed, Hell to the Liars, Everyone Else, Bones of Ribbon, Who Am I

CD Odyssey Disc 1522: London Grammar

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