It's been too long since I last wrote a post for this dark corner of the web, and its a good time to experiment with something just a little bit different...
Esteemed British alternative rock band Elbow have had a long string of successes from their début, the equally stylised "asleep in the back", and in 2012 before their sprawling and more theatrical release with "The Take Off and Landing of Everything" that was first kicked into gear with "The Seldom Seen Kid", the group had one last look back at their roots with what is seen here: "dead in the boot". A hearty reference to the previously mentioned début, this compilation is most definitely a callback to its reference not only in title but in its tone - an obvious occurrence due to these songs' original release window, released alongside their bigger counterparts to be mostly overlooked as b-sides.
Introduction aside, what is it that makes this compilation so special? To be known as a compilation often indicates that its a throwaway to pass the time for the next big thing or to reflect on a band's former glory, the effect doubled when its associated as a b-side, the "b" not being the best that a band can indeed be. The answer is, listening through the tracks, taking them down one by one, its overarching downtrodden feeling that follows through from start to finish makes it feel like more than just some b-sides. It's not thrown together in chronological order of release, but in a manner that works from track to track, the songs are ordered in such a way that when you've heard what seems to be repetitious, a sudden jolt of life comes along in the form of a track with such urgency as the late bloomer "mcgreggor", featuring [the lead vocalist] Guy Garvey at his most potent and striking in both lyrics and vocal range. It comes as a great surprise after the soothing tenderness of the one-word verses and reflective piano melody in "lullaby", crashing down with the tale of a recently deceased lonely landlord, his "father figures and mother fuckers", before harshly asking: "who knew the man?" A prime example of the album's strength in the element of surprise.
The greatest charm that this album possesses is not only in its actual content but in its presentation, its cover, its choice to ignore any form of grammar in both song and album title, it should come off as a silly gimmick but it feels like something more. A case in particular, listening to the track immediately following "mcgreggor", "buffalo ghosts": sitting there, staring at the album cover and feeling a deep sense of nostalgia for the most inexplicable of reasons, its lyrics and tone matching perfectly with the imagery of silhouettes scattered across a sunset. In addition to this, it feels like one last hurrah to Elbow's past musical era as they move onto their now mastered craft which as previously mentioned was created in "The Seldom Seen Kid" and cemented with their most recent album, "The Take Off and Landing of Everything". A more theatrical and almost orchestral feel is prominent in their most recent work, which is just one more reason to admire Elbow - but you've got to pay respect to your roots, and this is that respect. To those like me, this is more of what you asked for and an opportunity to witness some of their more overlooked tracks in their illustrious back catalogue. For those who have came upon Elbow anew, its a great stepping stone before moving onto what's next in their discography. But then again, what isn't?
The greatest charm that this album possesses is not only in its actual content but in its presentation, its cover, its choice to ignore any form of grammar in both song and album title, it should come off as a silly gimmick but it feels like something more. A case in particular, listening to the track immediately following "mcgreggor", "buffalo ghosts": sitting there, staring at the album cover and feeling a deep sense of nostalgia for the most inexplicable of reasons, its lyrics and tone matching perfectly with the imagery of silhouettes scattered across a sunset. In addition to this, it feels like one last hurrah to Elbow's past musical era as they move onto their now mastered craft which as previously mentioned was created in "The Seldom Seen Kid" and cemented with their most recent album, "The Take Off and Landing of Everything". A more theatrical and almost orchestral feel is prominent in their most recent work, which is just one more reason to admire Elbow - but you've got to pay respect to your roots, and this is that respect. To those like me, this is more of what you asked for and an opportunity to witness some of their more overlooked tracks in their illustrious back catalogue. For those who have came upon Elbow anew, its a great stepping stone before moving onto what's next in their discography. But then again, what isn't?
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