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Most Helpful Customer Reviews
6 of 6 people found the following review helpful:
5.0 out of 5 stars
Unique, powerful, moving.,
By Lord Chimp (Monkey World) - See all my reviews
This review is from: Last Bright Light (Audio CD)
Since I give out so many 5-star reviews, maybe I've partially trivialized its meaning when I rate stuff. I've wanted to write reviews without placing much emphasis on the rating anyway. Whatever the case, I'm trying to say that there are differences between 5-star albums, and Mostly Autumn's The Last Bright Light is in the upper echelon of those with the highest rating. And though I don't have the writing skill necessary to communicate how much I like this band, more people have to spread the word. I'll do my part. The Last Bright Light is Mostly Autumn's third album, and shows them continuing to flex their songwriting muscles with their inventive style. If you've never heard them before, it's easiest for me to just rip off the description from their website: "Powerful atmospheric rock with a Celtic edge, influenced by Pink Floyd, Deep Purple and Genesis, and reminiscent of 70's Fleetwood Mac and Fairport Convention - difficult to pigeonhole, and although Mostly Autumn wears its influences on its sleeve, the originality far outweighs this. Mostly Autumn's sound incorporates the uses of flute, low and penny whistles, violins and vocal harmonies - over a powerful band, consisting of keyboards, two guitarists, bass and drums." This description doesn't mention that the band uses two main vocalists, male and female. Perhaps because most of the music I listen to is dominated by men, I think it's refreshing to hear a female singer with a great band. Some song-by-song commentary: "...Just Moving On" is an airy introduction beginning with the call of bagpipes then moving into a piano/keyboard melody recalling The Division Bell and The Snow Goose (maybe?). Segues into... ..."We Come and Go", a warmly inviting track with a sunny guitar riff and Brian Josh's vocals, a bit of Roger Waters and perhaps a touch of Tom Petty in the enunciation combining with his own distinct sound. The chorus possesses an instant hook and powerful chords. Heather Findlay's delightful voice provides backup throughout. "Half the Mountain" is a ballad with saddening lyrical imagery and a measure of dolor in its music. Hope blooms with the brave guitar solo and happier background music as the song progresses. "The Eyes of the Forest" is tranquil, pastoral minimalism, sporting flute, acoustic guitar, and nature sounds. This is Heather Findlay's first songwriting credit on the CD, and her singing is lighter than air, delicate and pretty. Personally, I find her voice lovely and distinctive, but her other songs show this better. "The Dark Before the Dawn" stands apart from most of this band's music, featuring some harrowing keyboard atmospheres juxtaposed with driving rock. Folkish flute melodies are dancing around the edges, and Josh's serrated, burning guitar solo evokes a certain edginess you don't often hear from him. "Hollow" is sung by Findlay but written by keyboardist Iain Jennings. While I understand that it's often expedient for a band to be dominated by one main songwriter, I like the fact that most of this band's members get involved in the writing at some point. This one is mainly a relaxed pop ballad with astute, celestial keyboard patches. For lack of something else to say, I'd call it a highlight. That's meaningless though, because every song on the album is a highlight. "Prints in the Stone" is an outstanding acoustic folk-inspired pop ballad, with the voices of Josh and Findlay harmonizing beautifully. Angela Goldthorpe's flutes and recorders follow along with the melodies. The middle section moves the song is a slightly darker direction, with just. The lyrics are evocative of nature's simple beauties. One of the things that with Mostly Autumn is how their longer songs build into extremely powerful finales. On The Last Bright Light, you don't really get a taste of this until the title track. It begins in a familiar manner, just a tense acoustic guitar line and Josh's vocals. Then, the acoustic guitar pounds out a rhythm while Gregorian chants fill the background, suggesting a build-up to the chorus, which is powerful itself. On and on the music builds until the finale of Celtic melodies on woodwinds and a Gilmour-like guitar solo. "Never the Rainbow" puts Findlay's pretty voice against one of the band's most driving power songs, which rocks to the max with tremoring organs and grinding guitars. I wondered something like that would sound like, so thanks guys. "Shrinking Violet" is Miss Findlay's most powerful songwriting on the album. The lyrics seem personal, and the whole performance is stunning. The music is sparingly arranged at first, just acoustic guitar, recorder, voice. After the bridge, it ascends into beautiful orchestrations and powerful guitar melodies that make me weak. "Helms Deep" is a bouncy, dynamic instrumental that evokes a highland festival. There is a slow middle section with medieval sound effects which is positively. The intensity rises and falls across the song (which is close to seven minutes), and memorable melodies are everywhere. By the time the lustrous electric guitar comes in towards the end, I always seem to have a smile on my face. It ends with some pretty piano notes that might leave me with a dark mood if it didn't move so abruptly into... ..."Deep Wood?", which is written by Angela Goldthorpe, who plays most of the band's recorders and flutes. This one also has a festive quality -- a very danceable tune with acoustic guitars and woodwinds. "Mother Nature", the 12-minute epic closer, is stunning. It uses the band's traditional opening motif which is familiar by now (acoustic guitar and flute), and Josh and Findlay are singing together for the effect I've come to like so much. The chorus is gorgeous and emotional, and the backing voices in the instrumental section are angelic. About halfway through the band really goes all out with stormy wind effects, simmering organs, exciting beats, and intense riffing. Finally, the song's gorgeous ending recalls Marillion's best music. The keyboard solo is just about the best I've heard -- beautiful and stately with the most heavenly patch the instrument is likely to offer. The tearful guitar solo that follows evokes the best of Steve Rothery and David Gilmour. In closing, this is another excellent album by an excellent band. As you can tell from my comments, Heather Findlay's role on this album is greater than any other, and this is good because I love her voice and she's proving to be a very talented songwriter. Enough talk...buy this album!
4 of 4 people found the following review helpful:
5.0 out of 5 stars
An amazing bright light!!!!,
By
This review is from: Last Bright Light (Audio CD)
Simply put, if you like beautiful and melodic music performed both vocally and instrumentally with superb talent and production, go to add to cart immediately,do not think twice. Brings to mind "the Floyd" in guitar tone and vocal phrasing. Similiar song structure to Porcupine Tree. I believe in 20-30 yrs this album will be considered a masterpiece. It already is a contemporary masterpiece to me. Certainly, one of the best albums I have ever purchased, but this music speaks for itself. Someone once said,"music is the greatest of the arts because it cuts through everything,needs no aids. It is. It simply is. Peace.
5 of 6 people found the following review helpful:
5.0 out of 5 stars
"IN COLOURS OF TIME WE KNOW WHO WE ARE...",
This review is from: Last Bright Light (Audio CD)
"What a gift, the starry skyScatters tune across the world The chorus of a bird in flight in the wind a sense of change As we all know in our hearts Nothing will remain the same." [From "We Come And We Go."] Have you ever purchased a cd on impulse, not knowing exactly why? Have you ever then listened to it but was not able to comprehend it fully? Yet you heard something. SOMETHING. And because of that Something, you kept the cd close because you knew it was meant for you to find and it was actually a part of you that was to be discovered one night? And oh, what a special, magical night it is when you discover it--you understand! TONIGHT. This is regenerative Music. Wow! It has a dreamy affect that reminds me a little of Pink Floyd and some Loreena McKennitt. (DOUBLE WOW!) Yet I have never heard anything quite like this! What a intricate collaboration of fluid, delicate, translucent, pure, reflective, inspiring and aspiring Music for the soul! Thoughtful lyrics, lush voices, estactic instrumentation! Breathe this in deeply and allow yourself to be lifted to the clouds. This sounds like the music to a lucid waterfall dream I had--a dream so real that I can feel it now. NOW. "Hollow" is speaking to me strongly, the song feels like a trickling stream which ebbs and flows until it gushes yet, at the same time, the lyrics are rather melancholy. But not to me! It fires me up as I realize I can change anything, any circumstance and make it what I want it to be. Now isn't this what Music should do? Oh and I must comment on "Shrinking Violet"--wait there are no words...the beauty overtakes me. Findlay is to be applauded here! Wow, she sings like an angel! "I remember dancing as a child Hard to pick a favorite song because they all have shining moments of glory. But right now, as I listen to "Mother Nature," I'd have to choose it: "Time to look and see Let the beauty of MOSTLY AUTUMN inspire you to... SOAR!
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