Five Leaves Left - Nick Drake

One song in that last review reminded me of Nick Drake, so I figured hey, may as well make this next one about one of his albums.

Nick Drake was basically a singer-songwriter based primarily in folk, and was active from the late 60s to the early 70s, until his untimely death in 1974 at the young age of 26. A real shame, because some of the music he wrote is possibly some of the most poignant and beautiful stuff I've ever heard.

His debut album, Five Leaves Left, was released in 1969, and contains some of his best material in his short career, in my opinion. I know some people see his last album, Pink Moon, as his masterpiece, and that's probably true, taking the lyrics into account. However, I'm not really the type to really listen to lyrics - the voice is just another instrument to me.

One thing that has to be said is that Robert Kirby is a genius. Well, and Harry Robinson, who helped on one track. We'll get to that one later. :P
Those two guys there, mainly Kirby, arranged the strings for the whole album. And they are incredible. Gushing over... for now. :P

If one was to try and identify a season with this album, autumn would be the one most people would commonly pick. The mood throughout is somber and wistful, and possibly unique. Understandably, some people don't like this album as much as other Drake albums because it's very similar throughout - no rest or respite, so to speak. However, peh, I don't care, this blog is about my tastes. :P
Onto the songs themselves, finally.

1. Time Has Told Me (4:27)
This is one of lesser listened tracks on the album for me, personally. It's a fine song, don't get me wrong, but yeah, just perhaps a little dull. Perfectly listenable, though, but I don't actively seek it out to listen to.
7.5/10

2. River Man (4:23)
And now already the best song on the album? Damn.
This song is AMAZING. I'm not kidding here when I'm saying that it's the best song I've looked at so far on this blog. One of the few songs in the world that can give me chills down my spine, thanks to the fantastic string arrangements. They don't make themselves the star of the show, they just quietly brood in the background, adding atmosphere. Just perfect.
But, there is one part in the middle of the song that is the spine-tingler for me - Drake stops singing, and an instrumental section takes over, and the strings finally cry. Just phenomenal. You have to hear the song at least once just to hear that. And I personally think it gets better and better the more you listen to it - when I first listened to the album, I didn't really give it a second thought, just noting the above average arrangements. However, it's now soared to the very top of my last.fm most listened songs list.
Drake himself always envisioned this song as the centrepiece of Five Leaves Left, and rightfully so. An interesting fact - arranger Robert Kirby was commissioned to do the whole album, but he felt he couldn't do this track justice. So, he called in fellow composer Harry Robinson, and instructed him to echo the tones of the classical composers Delius and Ravel. Certainly shows, that's for sure, even for those who don't know who the hell those guys are.
Okay, that's enough about this song - just listen to it on YouTube already, and my job should hopefully be done. :P

9.6/10

3. Three Hours (6:15)
This is a relatively straightforward folk affair. Pleasant, but a little too similar to the first track in terms of interestingness. I do like the fingerpicking towards the end of the song, though.
7.6/10

4. Way To Blue (3:11)
This is an unusual song for Drake in the fact that he doesn't play guitar on it for once. This is just him singing, plus some strings. Beautiful, but perhaps a tad dramatic for some people. Not on the same level as River Man, but definitely a good listen.
8.7/10

5. Day Is Done (2:29)
This was the first song I ever heard of Drake's - it was actually a cover, funnily enough. That spurred me to listen to the original, and from there, my liking for Drake's music grew.
What drew me to this song in the first place was the chord progression. Actually fairly simple, and not that rare, I guess it was just the combination of all the elements coming together that made it fresh. The arrangement, perhaps echoing slightly of the Beatles' hit Yesterday, is great, as per usual from Kirby. A good introduction to Drake's music, I think.
8.8/10

6. Cello Song (4:48)
I know this song feels ethnical to some degree, what with the use of the cello, but I can't put my finger on what feel it has. It's relatively typical folk music, but it's been done damn well here.
8.5/10

7. The Thoughts Of Mary Jane (3:22)
Some flute in this song - a change from the usual arrangements so far. For some reason, I always thought that Drake played the flute here, but I was mistaken. Some beautiful melodies in this one.
8.6/10

8. Man In A Shed (3:55)
More relatively standard folk here. However, (I'm getting tired of saying this now, but it's all I can say, really :P) it's done well.
8.3/10

9. Fruit Tree (4:49)
This reminds me of Day Is Done - similar tone to the chord progression. One thing I love in this is the instrumental interlude, with the oboe taking the lead. Another example of beauty in this album. Arrangements in this song are probably second-best to River Man.
9.0/10

10. Saturday Sun (4:05)
This is another song that definitely stands out from the rest. Drake finally takes up arms with a different instrument - it's piano for this song. Also, this is the only song on the album that actually has a drumkit - the rest either don't, or just have congos. A little use of vibraphone here and there works nicely. A nice, relatively happy way to end the album (considering the rest of it).
8.8/10

So, all in all, probably the best folk album I've heard, although to be fair, I haven't listened to THAT many. And it also depends on what you define as folk. But yeah, enough of my rambling.

If you enjoy River Man and Day Is Done, you should definitely check out the album. If there is satisfaction with those two songs alone, you won't be disappointed.

Overall album score: 8.5/10

6 - After Crying

After Crying is not so much a band as an ensemble, really, although they utilise many elements from prog rock at times, so for simplicity's sake, I'll refer to them as a prog rock band. These guys are from Hungary, and basically combine contemporary classical music with a rock band, intertwining elements from both. Simply put, an awesome combination. They've been around since 1986, and have put out 14 albums since their debut in 1989. Probably their most varied, yet consistent record in my opinion is their ninth album from 1997, simply titled "6".

6 is split up into five sections, akin to classical movements. Very proggy indeed. The content itself also reflects these classical inclinations - the album is rife of classical sections, even opera at parts. However, the rock band half of the ensemble isn't forgotten - it is present in many of the tracks. Now, for the single songs themselves.

1. Save Our Souls (2:49)

The albums starts with something that sounds almost like something Stravinsky would write - melikes. Some lead guitar comes in around halfway, but doesn't draw attention to itself, unlike what many bands would consider conventional. The track ends on a rather morbid note; a rather strange choice of mood to end on, considering the the next track.
8.6/10

2. Panem et Circenses (29:31)

a) Fun Fair Land Open (4:33)

This almost feels like a soundtrack to a 70s detective film at the start. In fact, the whole song has a real Zappa flair to the whole thing. The end of the song brings back the orchestra, yay.
7.8/10

b) Providence (Dance With The Sleep-Walker Marionettes) (2:44)
This song is beautiful. The opera singing isn't overdone, and not similar to the stereotypical image/sound of opera. Really, I'm only calling it that because of the elements used with the singing - it's more akin to normal singing, albeit a bit more asthetically pleasing than most. Don't get me wrong here, I'm not generally a fan of opera. However, this is just a beautiful song.
8.7/10

c) Salto Mortale II (Trash Flow) (8:46)
And now the prog band comes in, bringing some epic strings with them. To me, personally, this reminds me of a boss theme from an RPG or something - just the feel of the whole track. We also get some normal singing - ie. singing we would expect from a prog band. And also some crazy genre hopping, as we would expect from a prog band - there's even some honkytonk playing somewhere in there. Just a little overlong, I find.
7.6/10

d) Sleepin' Chaplin (2:40)
Some synths open this track. Very atmospheric. Then some flutes come in, giving this a very ethnic feel. Although I am not entirely sure what ethnicity...
7.9/10

e) Madrigal Love Part Four (Casanova) (4:13)
For some reason I can't explain, this song reminds me of some of Nick Drake's material. Perhaps it's the orchestration, or the particular inflection of singing that both use, but meh, it echoes of Nick Drake to me. For those of you who actually know what I'm talking about, compare this to Way To Blue, and I think you should see what I'm talking about. Although, this certainly is a bit more lush, I think.
8.0/10

f) Final (Big Evil Fun Fair Finale) (6:26)
The chord changes in this really give a feel of a movie soundtrack. Really, that's all I have to say about this one - definitely a song that would great to have in the background of some movie. Preferably an epic, I think. Steampunk, methinks. You have to hear this song to understand how I come to that conclusion.
7.7/10

3. Intermezzo (2:49)
I love this. Lovely melodies abound in this short little song. Some jazz influences detectable here as well, but it's pretty accessible stuff.
8.4/10

4. Farewell to 20th Century (27:58)

a) Viacuct (4:36)
And now our second massive track starts with a creepy electronic theme. This album will make sure you never forget it - it's repeated countless times throughout this song.
7.2/10

b) Salto Mortale I (Helpless) (3:33)
The creepy theme continues here. More despair here - personally, I find it gets a bit much.
7.0/10

c) Enigma II (5:41)
Thankfully, this is a different tone. Acoustic guitar - a first for this album so far. And I quite frankly love it. Probably my favourite song on the whole album, so it makes up for the first two parts of this song. Reminds me of soft King Crimson. Great stuff.
9.0/10

d) Struggle For Life (9:12)
This song is probably the height of how creepy this album can get - wow, those synths seriously belong in a horror game or movie. Then, later on, some spoken word takes place in Hungarian. Probably deep stuff, but I have no clue what they're saying. Standardish prog rock affair after that.
7.6/10

e) The Man And The Rock (American Express) (4:56)
This track is mostly just atmosphere - not much happening here, musically, apart from a reprise of an earlier theme from the album towards the end of the song.
6.7/10

5. Conclusion (A Tribute To Keith Emerson) (10:46)
Last song on the album starts with some very pleasant piano, quite unlike anything else on the album up to this point. The accent on the vocals is a little distracting at first, but you get used to it after a few repeated listens. Some great arrangements in this one. This song is actually a tribute to Lake, Emerson and Palmer, as evidenced by the title, and their influence shows throughout.
8.1/10

So, this isn't for everyone - vocals can help there, for those without open minds. :P
Not saying they are tuneless, but people can be very particular about accents. After Crying are definitely a great new find for me, though, personally. Refreshing.

Overall album score: 7.9/10

The Sea Nymphs - The Sea Nymphs

During this very long break, I've been hunting around for new music, and this will be the first of a couple of reviews based around some of my new discoveries.

The Sea Nymphs are a side project of some members of Cardiacs - namely, Tim Smith, Sarah Smith and William D. Drake (keyboardist). The Sea Nymphs sound is probably best generalised as psychedelic - a more subdued version of the Cardiacs own material. Much more accessible, as well. You'd probably want to start with these guys before trying Cardiacs, actually.

Their self-titled album is actually their second album - their first being Mr and Mrs Smith and Mr Drake way back in 1984, when they didn't even have a name for themselves. After a long break, they released this album on CD in 1995 (beforehand, it had been available at concerts on cassette since '92). A rather long one as well, at that. It consists of 19 tracks, although quite a few are of a relatively small length. Anyway, without further ado, I shall have a look at each song. Don't expect massive write-ups for this one.

01. The Spirit Spout (2:20)
This starts off the album with a tribal drumbeat. Hm, yeah... after 45 seconds, we get an actual song - just Smith singing with some synths/piano. Then some instrumental stuff from Drake. Overall, pleasant, but not much else to say.
7.3/10

02. Shaping The River (2:07)
Similar in style to the previous song, and follows a similar structure. Damn, that instrumental in the middle is good, though - can feel Drake's classical training coming through there.
7.4/10

03. Nil In The Nest (1:53)
Starts off with Sarah and Bill interchanging vocals, and interchanging textures with them. Bill takes the harsh half, and Sarah the subdued half. Finishes with an intrumental of the main melody. Probably the first song that stuck out to me as being above average.
8.3/10

04. A Thousand Strokes And A Rolling Suck (2:18)
For some reason, the vocals on this track, by Tim Smith, remind me of Oasis. However, the instrumentation couldn't be more further removed from Oasis - an Indian vibe in the background for much of it. Certainly is a good example of their psychedelic side.
8.2/10

05. Christ Alive (3:24)
I find this song to be just a little boring. The melody isn't engaging, and the style is too much of a retread of the first two tracks of the album. A tad repetitive, too.
6.3/10

06. Mr. Drakes Big Heart (0:17)
Now, I LOVE these tiny instrumentals. I really wish that they could've gone on for way longer - Bill can write some really interesting stuff on the piano. I've been trying to get a hold of his solo albums, but it's incredibly difficult.
8.5/10

07. Lucky Lucy (2:23)
Some good sax on this track. I love the instrumental theme as well, that separates each section. That alone is enough to elevate this song above average.
7.8/10

08. Gods Box (1:54)
Sarah sings on this track. Very pleasant, although can't quite figure out what she's singing at times. Vocals mesh with the instruments that well.
7.6/10

09. Piano Interlude (0:44)
See Mr. Drake's Big Heart.
8.8/10

10. Up In Annie's Room (3:37)
I love the epic feel of this track - helped greatly by the synths. It certainly stands out from the others. I also love the chord progression throughout the whole thing - the way it meanders around gives it a real unsettling feeling.
8.9/10

11. Mr. Drake's Big Heart Reprise (0:17)
See Mr. Drake's Big Heart. Almost exactly the same, for that matter.
na/10

12. The Psalm Of Life (2:37)
The melodies throughout this one are brilliant, simply put. One of the highlights of the album, and also one of the more accessible songs. Very palatable, and also interesting enough to hold up on its own feet for its duration.
9.0/10

13. In The Corner Of Sin (2:38)
For some reason, the vocals of this song make me think of a nursery rhyme, with just the way they are delivered, along with the instrumentation. Don't get wrong, though, it's a good nursery rhyme... XD
A cool little instrumental closes the track.
8.4/10

14. Tree Tops High (2:36)
Hm, I dunno what to say about this song. Nothing special, really, but nothing bad, either. Just mediocre, I guess.
7.0/10

15. Dog Eat Spine (2:51)
Awesome piano on this track. Refreshing, and is another song that has a different feel from the rest of the majority of the tracks.
8.4/10

16. Sarah On A Worm (2:47)
A straight instrumental. Simple, but pleasant in its own way.
7.1/10

17. Lilly White's Party (5:14)
I love the trippy background of this song. Relatively minimalistic, but a damn good song.
8.7/10

18. Appealing To Venus (2:34)
Another nice melodic song - Smith is a bit less abrasive in his vocals in this one, probably from the use of falsetto. Above average.
8.3/10

19. Abade (4:19)
Wow, drums? Not sure if this is a drumkit or not, but it's nice to listen to something with a beat. Sarah's back for vocals again, to close the album. I would class this under accessible as well. The song appears to end around halfway, and the album finishes off with some random sound effects. Not necessary, but it doesn't hurt the rate, for me.
8.8/10

So, in my opinion, a very fine psychedelic-heavy album. Also rather refreshing to hear the imagination of Cardiacs produced in a slightly less insane manner.

Overall album score: 7.6/10