Customer Reviews

Carousel

5 star:		(11)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

There's little doubting the impact Robin Guthrie has had on modern music: groundbreaking work with the Cocteau Twins, atmospheric collaborations with Harold Budd, acclaimed soundtracks, and accomplished solo releases. There aren't many artists who can claim creation of a signature sound, but once you've heard a Robin Guthrie guitar, you'll recognize it forever.

The Cocteau Twins are my favorite band, so I was both hesitant and excited to learn that Guthrie was continuing making music after the band split up. His solo work sounds quite similar to CT recordings, and that's not surprising since the sound is his own: shimmering, floating, treated guitars and bass with delicate yet memorable melodic structures. The guitars are also used to create basic rhythms that give the songs shape and hold them together, with minimal percussive and keyboard elements further refining the sound.

Once Guthrie went solo, I wondered if he would give his sound the chance to expand, with long instrumental tracks that took their time evolving. With such a lazy, meandering atmosphere, I imagined a long journey through velvet clouds on the back of his music. This doesn't quite materialize on Carousel....but it comes really, really close. "Autochromes" is perhaps the best example of this: a heartbreakingly beautiful gossamer melody that's almost palpable in its emotion, but just as the mood is established, it dissolves, as the song is less than three minutes long. While it plays, however, it causes this journey to materialize. In fact, most of the songs on Carousel come close to making this journey a reality.

With such a common bond between tracks, I wonder if Carousel would have been more effective if there were no breaks between tracks, and if some songs (like "Autochromes") were extended. It almost seems as if Guthrie is still making music around the vocals of Liz Fraser, allowing her ghost to permeate the songs' structures. The almost pop-sounding "Sparkle", in particular, seems to be reaching for vocals; it sounds very much like an instrumental Four-Calendar Cafe-era CT song to me. This is the only song on Carousel guilty of this, however; the rest of the tracks seem to be drawn from the same breathtaking atmosphere, focusing more on mood than form.

I think this movement away from traditional rock structures is intentional. Despite Carousel's relatively short 37 minute length, there seems to be the beginning of a new direction for Guthrie. There seems to be a move towards a more aesthetic sense, towards the ambient experimentalism of the classic CT album Victorialand. The magnificently titled "Close My Eyes and Burn" is evocative and thrilling, while "Waiting by the Carousel" is heavy with longing and mystery. "Mission Dolores" skillfully fuses elements together, using a minimal keyboard melody and bass line as its foundation, while guitar textures drift closer from the distance. It's a piece of musical poetry that's over far too soon. "Search Among the Flowers" adds gentle layers of synth sweeps and guitar melody as it wanders peacefully.

This shift becomes more apparent as Carousel progresses, reaching its peak with the sublime dreaminess of the final track, "Little Big Fish". Guthrie finally does away with structure completely here, freeing his guitar to soar unchained.....or perhaps luring it to the uncharted depths of the ocean. At over five minutes, it's also the album's longest track, allowing it to grow and flourish, to establish a sense of feeling and identity often underdeveloped in Guthrie's shorter songs. It's an absolutely gorgeous piece of ambient work, and I think it's one of the best Guthrie has ever written.

I think Carousel is the best evidence to date of what Guthrie can do without the anchor of Liz Fraser, and gives me confidence he's ready to take the next step and evolve his sound even further. While his solo work has had its own identity, I think the influence of CT was still very apparent at times. With Carousel, this influence has lessened, and Guthrie is finally forming something that is truly all his own. Even the all-to-brief "Autochromes" hints at what lies just over the horizon.

As much as I anticipated this album, the subtle shift in structure and the strength of its final tracks whet my appetite even more for the follow-up. Despite Carousel being Guthrie's best solo work yet, there is still room for his gift to grow; Carousel is just short of a classic. Perhaps Guthrie is finally realizing the depths of his solo talent; throughout the record, there's a keen sense of moving, albeit slowly, towards something even more majestic than the wonders he's already created. I can't wait to find out.

I just can't believe how amazing this album is. All of Mr. Guthrie's work has moments of absolute bliss, but Carousel is more consistently filled with wonder and transcendence than his previous solo work and can stand alongside any Cocteau Twins album you name. Yes, this is as good as Treasure, as good as Blue Bell Knoll. It waltzes and sings and pounds and soothes in turn, with textures and dynamics that are shockingly rich. This sounds like looking out over the North Cascades from Mt. Baker, or an endless late night with a lover, or just getting lost under a canopy of stars. Beautiful, just beautiful.

For those of us who search endlessly for recordings hoping to discover occasionally one out of the many to which there are not enough words to justify an equitable response, this is one. "Carousel" is a rare recording not only of quiet beauty, it yearns as few contemporary recordings are capable of and without words the yearning becomes mystery and one is drawn into it again and again. It doesn't matter to me how many times I'll play this recording or that I might play it for the rest of my life because I'm just so glad to be part of it as an endless listener. dp

I have to confess that I started to become disenchanted with Guthrie's solo music, especially the lackluster, predictable, and underwhelming "Continental" and the various EPs that he released around the same time. Continental was such a major disappointment, especially after the stellar debut of "Imperial", that I went into "Carousel" with very low expectations. I started to wonder if the creative fire was diminishing or if his past creativity was fueled largely through chemicals and a wondrous chemistry with two other musicians.

Carousel is the genius that was and *is* Robin Guthrie. This is a fantastic album. The production here is more layered compared to Guthrie's previous releases. It's not as fast and loud as Continental - which is a good thing. It's more subtle. There is a beauty and melancholy in these songs. The opening track - "Some Sort of Paradise" - is my favorite. There is only one bad track on the album - "Search Among the Flowers" which is why I rate this 4 of 5 stars. It must be difficult for Robin Guthrie to produce solo music, as everything he does will always be compared with Cocteau Twins. I really hope that this release starts to re-introduce the world to the genius that is Robin Guthrie.

For fans of later Cocteau Twins, this CD is a godsend. This might as well be an instrumental CTwins CD. And its very very good. Stunningly beautiful, ethereal guitar work and expertly studio produced as usual. What is "different" in this Guthrie CD is that there are often drums in these tracks. So the tracks are less abstract than some of his other solo work. I rarely give 5 stars and this one gets that rating with ease.

Imperial and Continental saw Robin Guthrie in full-on exploration mode, whereas Carousel sounds like he's returned from the wilderness having found what he was searching for. The songs here are more dynamic and structured than those on the earlier discs, and while they might echo Cocteau Twins more clearly, they also map out new territory that I can see Guthrie developing well into the future.

I have been a Cocteau fan as far back as I can remember. In 1990 I listened to Heaven and Las Vegas all summer long and enjoyed the videos for several songs on the album. As the years went on I became even more of a fan enjoying Cocteau's last album Milk and Honey as a new favorite. I have to tell you that I was not a big fan of Violet Indiana and sort of thought the journey was over. That was until Robin began recording on his own with just his guitar sounds. I have to say that Carousel was nothing short of breath taking bliss. I own nearly all of Robin's work as well as his work in Cocteau and Violet and this was a stunner. To think that something this cool could still come out. I would recomend this to anyone who likes this type of music or the Twins. All of Robin's work is good so enjoy all of it.

Tom

Carousel maintains the high quality shown on Imperial and COntinental. Together, the 3 albums form a nice trilogy of ambient guitar effects and relaxing melodies. Standout tracks are search among the flowers and the last one which is probably one of the best ambient compositions of all time.

For 30 years, Robin Guthrie has been recording some of the most textured and imaginative musical landscapes I know. It is amazing that he hasn't released an album with David Sylvian, or Robert Fripp, or Laurie Anderson. Carousel does not disappoint and continues to grow with time. One of the greatest nap-discs in years!

...... ¡ what a purchase ! .... this is the kind of release ...that you keep .....listening : non -stop .... at home ..at work ..at car...and a MUST .... TRANSFER ...to you mobile device ...whatever kind ...... FIVE stars ..... looking forward to purchase ..... some other .... and you know what .... one don't relly miss the lyrcs ..of the TWINS ...... period.