In the heart of “Hellfire,” the concluding album by the British art-rock band Black Midi, lies a track titled “Still,” which may not have garnered much attention. The album itself, a rock opera, presents a narrative that is anything but straightforward, even for the genre, featuring elements like a boxing match, an actor\u2019s on-stage explosion, and a cast of quirky characters including Tristan Bongo and Mrs. Gonorrhea. Amid this chaotic storytelling, listeners might find it challenging to focus on the plot, distracted by Black Midi’s signature style characterized by frenetic riffs, discordant chords, improvisational saxophone, bursts of sound, jazz interludes, and eclectic rhythms. In such an environment, the gentle acoustic nature of “Still,” infused with country influences and a touch of Canterbury prog, stands out. This track is sung not by frontman Geordie Greep, known for his array of eccentric vocalizations, but by bassist Cameron Picton, who possesses a more subtle and sincere singing style.<\/p>\n
When reflecting on Picton’s debut album following his time with Black Midi, titled “My New Band Believe,” it’s hard not to think of “Still.” This new project features a diverse group of experimental musicians, including veteran drummer Steve Noble, known for his work with the influential post-punk band Rip Rig + Panic. While Greep’s upcoming solo album “The New Sound” promises an eclectic blend of genres familiar to Black Midi fans, “My New Band Believe” appears to draw inspiration from “Still.”<\/p>\n
The sound of Picton\u2019s album is entirely acoustic, showcasing live recordings of fingerpicked guitar, double bass, piano, and percussion, complemented by string arrangements. The lyrics take a more straightforward approach compared to the fanciful themes of his previous band, although hints of Black Midi’s darker elements appear, such as in the opener “Target Practice,” which features a revenge fantasy. Other tracks, like “Love Story,” evoke a sense of lost domestic bliss through evocative sound effects, while “Opposite Teacher” explores themes of fatherhood.<\/p>\n
However, the second track, “In the Blink of an Eye,” introduces an element of dissonance, reminding listeners that “understated” is a relative term. While “My New Band Believe” tends to be more melodically focused and subtle than Black Midi, it still embraces an episodic and unconventional songwriting approach.<\/p>\n
Interestingly, Picton initially sought the collaboration of Van Dyke Parks for orchestration, although Parks’ involvement was ultimately beyond financial reach. Despite the album’s less varied stylistic range compared to Black Midi, it retains a certain restless quality reminiscent of Parks\u2019 acclaimed 1967 work, “Song Cycle,” marked by unexpected key changes and shifts in mood.<\/p>\n
Over its eight-minute span, “Heart of Darkness” transitions through a blend of folk-inspired guitar and jazzy drumming, soft acoustic rock, and an eerie, improvised conclusion featuring guitar harmonics and ambiguous sounds. “Actress” presents sweet melodies, again in a folk\/jazz style, punctuated by pauses, tempo shifts, and dynamic changes that lead to a conclusion that feels more like a gentle fade than a definitive end, suggesting a sense of exhaustion among the performers.<\/p>\n
The album\u2019s ability to engage listeners without overwhelming them\u2014unlike the often intense experience of Black Midi\u2014can be attributed to its fluid instrumentation and seamless transitions. The result is an album that feels more accessible, inviting affection rather than mere admiration, while maintaining an intelligent complexity. It cleverly avoids conventional song structures and is filled with unique musical ideas, all while presenting its intellect in a more approachable manner than Picton’s earlier works, which could be seen as a savvy artistic choice.<\/p>\n
Turning to Beth Orton\u2019s latest offering, “The Ground Above,” one can sense that she remains an underappreciated artist, particularly given her consistent quality throughout her thirty-year career. This is evident in the expansive depth of her new album.<\/p>\n","protected":false},"excerpt":{"rendered":"
In the heart of “Hellfire,” the concluding album by the British art-rock band Black Midi, lies a track titled “Still,” which may not have garnered much attention. The album itself, a rock opera, presents a narrative that is anything but straightforward, even for the genre, featuring elements like a boxing match, an actor\u2019s on-stage explosion, […]<\/p>\n","protected":false},"author":2,"featured_media":5904,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1439,631,1050,194,724,88],"tags":[],"class_list":["post-5905","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uk-black-midi","category-uk-culture","category-uk-indie","category-uk-music","category-uk-pop-and-rock","category-uk"],"yoast_head":"\n