Tori Amos, Samuel Adamson and Cast - The Light Princess
James Blake - Overgrown
FKA twigs - EP1
Patty Griffin - Servant of Love
Incubus - A Crow Left of the Murder
Lior - Autumn Flow
Wendy Matthews - Cafe Naturale
Joni Mitchell - Ladies of the Canyon
Katie Noonan's Vanguard - Transmutant
Agnes Obel - Aventine
Pearl Jam - Lightning Bolt
Foy Vance - Hope
Rachael Yamagata - Chesapeake
Rachael Yamagata - Loose Ends
In November I made a decision to try and focus on the new pop music purchases I'd been making recently. Some of which I'd already listened to, some of which were just sitting there waiting, and some of which only arrived during the month.
It was a partial success. I got to know a few of these albums much better, which was the intention. I listened to a few without really paying close attention (not least because I broke my usual rule that I must first listen on CD before using the iPhone, meaning that in some cases I didn't ever sat down with the booklet lyrics). There were some new ones that I didn't get to during the month.
"New" purchases also included Foy Vance's album, which I can tell you for certain I purchased in October 2009, because I know where I was and he signed it for me. I've finally listened to it! However, it's in the 'not really paid close attention yet' category.
Of the things that I paid more attention to, Autumn Flow is worth talking about because I had in mind to buy Lior's debut album many times over the last decade and just never made the leap until now. There was always something else that was on special or a higher priority. I'm now kicking myself a bit, because it really is a very fine album indeed that I should have started enjoying a long time ago.
It starts with what is essentially the only hit song Lior has ever had, 'This Old Love', which is beautiful, but the great strength of the album is that it is in no way a stand-out track. The whole record is at a consistent level of inspiration. If you think this is good... well, in my opinion the whole album is just as good.
And there is enough change of mood to keep things interesting. The tone does tend towards mellow, but unlike some albums that get a bit boring as a result, there are plenty of songs that pick up the pace without ever feeling that they don't belong.
Of course, there is also new Tori Amos on this list, but she is the composer rather than performer (apart from a couple of bonus renditions at the end). And The Light Princess is truly fascinating. I'd go so far as to say Act I is a masterpiece. The economy with which Amos and librettist Samuel Adamson communicate the story is at times breathtaking and brilliant, especially when two parallel scenes are playing out in two kingdoms at once. While I'm no expert on musical theatre, the performances generally seem excellent.
Act II is just a little weaker, with one section in particular that (so far) does not work so well for me. In part this is probably because the one performer/character that I find a bit strident and grating takes centre stage and is basically called on to be as strident as possible, then to wallow in sentiment.
But overall, it's an impressive piece of work, that took many people many years - not just Amos and Adamson, but a whole cast and crew, and a director and other people at the UK's National Theatre who shaped and guided the creation of the work long before it reached the stage.
And now I get to keep the aural parts of the results, at least, in my library. Well done everyone.
The Light Princess is a pretty tremendous musical, and the sound of the record itself is very meticulous and warm at the same time. I’m also a big fan of Act I — “My Own Land” is one hell of an opening number; the buildup to, and moment, when the company sings (snarls? laments?) “She is LIGHT” amazes me every time.
ReplyDeleteAct II loses me a bit once “Amphibiava” starts; I’m sure it was visually stunning live, but it lacks something musically for me. I presume the character you’re referring to is either King Darius or Piper; I can definitely understand dislike for the former’s portrayal in “The Whistleblower” and “My Little Girl’s Smile".
Perhaps the most exciting part of The Light Princess for me is Amos writing specifically for male voices (a diversity of them, too) for the first time in her career and, for the most part, pulling it off with flying colours. It recently occurred to me that she’s more overtly incorporated male voices, both lyrically and musically, into her albums from Abnormally Attracted to Sin onwards (“Welcome to England” is arguably the prototype), and I can’t help but suspect in hindsight that it was a way for her to figure out how to write from that perspective.