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Review: Jack Foley
DAVID Gray admits to adopting a different approach to his latest
album, Life In Slow Motion - one which adopts far more
of a soundscape.
"All the records that have inspired me this time have been
far more of a soundscape," he explains. "The Sigur Ros
records, Sparklehorse's It's A Wonderful Life, Lucinda
Williams' World Without Tears and albums like Deserter's
Songs, where things are more architectural."
The result is a deeply atmospheric record that embraces an almost
cinematic scope while retaining the heartfelt intensity and staggering
clarity of Gray's distinct vocal style.
What's more, it's a furthering of the singer's life in music.
Opening track, Alibi, for instance, is described as being
like Babylon: Part 2 - only far more abstract.
"It's like catching up with the character a few years down
the line when they're a bit worse for wear," he adds.
For fans of Gray, the album therefore represents an unmissable
next chapter in the ongoing success story. It's as passionate
and brooding as you might expect, but a little more epic and certainly
more ambitious.
Nos Da Cariad (Welsh for Goodnight Sweetheart) is almost
Coldplay-esge instrumentally, courtesy of a stark guitar riff
to set things up. It's an inspirational piece, vocally layered
(a falsetto style undercuts Gray's main vocals), that is designed
to be emotive and succeeds.
It is followed by the pensive Slow Motion, a contemplative
piece that is marked by Gray's powerhouse vocals and the trademark
melancholy style.
Two tracks, From Here You Can Almost See The Sea and
Ain't No Love are taken from the soundtrack for Amma
Assante's debut film, A Way of Life (2004), which merely
lend to the cinematic sweep of the album as a whole.
While there are even uplifting melodies to offset some of the
more atmospheric stuff, such as the upbeat Hospital Food
and the aforementioned Nos Da Cariad.
The ambitious scope of the album is best exemplified in the album's
penultimate track, Now And Always, a six-minute plus
slow-builder that unfolds with more impressive vocal layering
and plenty of instrumental arrangements.
As with a lot of Gray's material, however, the album does occasionally
take a while to fully appreciate - but the longer you keep listening,
the better it seems to get, creeping into your sub-conscious to
deliver some truly memorable anthems.
As part of the PR for Life In Slow Motion, Gray confesses
that he doesn't think he can remain the underdog forever - or
remain working in that way.
As such, the album marks a bold step forward that doesn't discard
its roots, wearing its heart (and its inspirations) on its sleeve
in suitably impressive fashion.
Fans can't fail to become wrapped up in its emotional sweep.
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