Customer Reviews

Music in a Foreign Language

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

 

 

"Music in a Foreign Language" showcases a slightly more wistful side of Lloyd Cole. The music and arrangements are understated when compared to much of his earlier work, while the lyrics offer the jaded perspective of a man on the verge of middle age who's "been there and done that." "No More Love Songs", originally on Cole's previous album "The Negatives", appears in a stripped-down acoustic version, while a cover of Nick Cave's "People Ain't No Good" is aptly chosen for its relentless cynicism. It's a mature work displaying the talents of a thoughtful and skilled songwriter.

Lloyd Cole's latest recording does take a bit of time to grow on you, but this is a quietly intense work of genius, a lower key but fully realized work that captures the spirit of one of our most talented yet still somewhat under-the radar artists.

Lloyd's typical detached irony is a tinged with a sadder edge this time out, and the record does reflect a bit of solitude and some of the angst the approach of "middle age" presents--I understand this was recorded entirely on Lloyd's Mac--but this is an absolutely worthwhile purchase from a highly talented, deserving artist whose work should be better recognized on this side of the Atlantic.

For those who don't know Lloyd's work, he's often been described as a mix of Bob Dylan and Bryan Ferry. There's always been a dash of Leonard Cohen thrown in as well. For those of us that know his catalog, this recording may tend a bit more towards the Dylan/Leonard Cohen sides; it is nonetheless a work of a highly talented, skilled songwriter, and a very satisfying, if mellower recording.

I've never lost interest in his work, and if this CD is any sign of the future, I don't imagine I will.

Music in a Foreign Language is the first in a series of U.S. Lloyd Cole releases from One Little Indian Records, and I must say I'm looking forward to the remaining two. This recording finds the singer/songwriter in a more stripped down setting. Most songs have a minimalist setting (i.e. sans drums, bass etc.) which gives it a kind of "after hours sound" for lack of a better term. You know, that sound where you picture the performer alone in the studio at 3 a.m. I prefer the sound of his previous release with the Negatives, but, considering the lyrical content of this record, the music fits quite well. Great lyrics as always, which seem to revolve around a post-30's disillusionment with the world. Lyrics like "Am I supposed to sleep, here all alone, with the shawdow of the minibar, and the promise of a spectravision girl..." on the track Late Night, Early Town, or "I am consumed by delusions of grandeur, I'm falling prey to the beautiful girl..." on Shelf Life. On the the track Brazil, we find, not a samba about that sunny paradise, but a song about the drugs found there, and the possible salvation or self-destruction they may cause the narrator. There's also a little musically sarcasm found in the "ba ba ba" background vocals. I definitely recommend this recording (espcecially for fans), but can't give it as high marks as the Negatives, because I think Lloyd Cole was really on to something with that record. If you like this CD, I would also recommend a listen to some of Robyn Hitchcock's acoustic records. - Fin

Over the past couple of years I have bought 3 of Lloyd's works - Songs in a Foreign Language, The Negatives, and Antidepressant.
Lloyd's clever song writing and unique vocal styling worked very successfully with the backing of the brilliant Commotions, resulting in all those hits of the 80s and beyond. I feel he took a chance with his solo works - exposing his basically weak and fragile voice for scrutiny.
This shows on SIAFL where sparse accompaniment and too many poor songs don't carry the day. My Other Life was the only one that I thought worthy of the man's talent.
The problem is that every song is of a very similar tempo - you long for some injection of beat and rhythm. In the end his vocal mannerisms grate, and it all becomes rather irritating. For someone new to Lloyd's music this album would make a very poor introduction.
For solo Lloyd fans I recommend the gorgeous Antidepressant - it all works brilliantly on this, where SIAFL fails.

I have to admit I'm a very recent convert to the music of Lloyd Cole. I've been listening to his entire back catalog for only a few months now and THIS is my favorite work of his. I know that must sound like blasphemy to long time fans, who place works like "Rattlesnakes" at the top of the heap. It's just that, to my ears, the production values on so much of his 80's and 90's music now sounds terribly dated. It seems like he used to be hoping for radio hits using the glossy techniques of the time (not that his magnificent voice and lyrics don't make up for that a bit). I know the earlier records must sound different to people who experienced it all the first time through, but without any of that inherent nostalgia, I just can't quite connect to the earlier stuff (even though I really want to!). "Music In A Foreign Language" got me right away however. It just plays to his strengths. It's a quiet acoustic record, yes. I love that about it. It's the perfect setting for Cole's romantic musings. There's more space for his voice and the spotlight is on good songwriting. This is just a gorgeous record. "Love Story" is my favorite Cole album after this. I can't wait for the next one!

Ever Sensible, English Songwriter offers Equal Servings of Experienced Skill (the not-so minimalist Exquisite Stab at production), Eager Stoicism (a new twist on the legendary Cole irony), Elusive Sincerity ("No More Love Songs"), and Enigmatic Sentimentality ("Cutting Out") that will not alienate his once-Emotionally Stifled core following of Eighties Students from the Rattlesnakes days and has already Earned Stars from reviewers (the Employed Sort ...). There's even an Edgy Standard ("People Ain't No Good", by Nick Cave), and some Exceptional Singing pops up as well. Whether there Exists Some Empathetic Sadness in "Shelf Life" is Entirely Subjective. Add the Ever So Effective Strumming of Lloyd and Erstwhile Sideman Neil Clark, and the End Sum is an Excellent Sixth Solo Effort! (Etc. Stands as an Editorial Supplement for "the Negatives", and I note but do not include Electronic Scores... ).

Lloyd's ECCENTRIC SERENADE is ENTIRELY SATISFYING!!

(and I apologize for the excrutiating structure of each sentence- "Self-actualizing Masterpeice", though true, presented many obstacles...)

p.s. I swear I'll never do it again!

From its bleak and spare album art right down to the music's incessant hush, Lloyd's quieter side is obviously gaining the upper hand with age. His gorgeous "No More Love Songs," the most restrained number on his earlier masterpiece, "The Negatives," gets an appropriate makeover here as a raw acoustic stunner, while "Alibi" evokes the poignant sincerity Lloyd achieved both musically and lyrically on "ETC," argually the most cohesive project of his career. But the thing that is missing on many of these songs is Robert Quine's guitar. Quine, who's deft hand lent an urgency to both "ETC" and "The Negatives" that seemed the perfect accompaniment to Lloyd's rainy-day disposition, committed suicide this past May following the death of his wife. The absence of those electrifying atmospherics Cole and Quine achieved together is profoundly absent throughout "Music in a Foreign Language." As usual, Cole brings his heart and guts to the microphone on all of these tasteful compositions, but often the album's minimalist approach serves as oddly distracting. Where the abrupt flare of a harmonica or lap steele drove a river of fire through much of "ETC," here it is as though we listen in as Cole whispers himself to sleep. As usual, the banter is memorable and rings with the inarguable truths of a literary master, but I think it is telling that the best song here is "No More Love Songs." The newer material just doesn't quite pack that one-two punch of biting lyrics whose eloquence is outdone only by the music they're draped in, and the cover of Nick Cave's "People Aint No Good" adds nothing to the original. On that song as with many on "Music in a Foreign language," I couldn't shake off the feeling that Cole could have dug a little deeper, reached a little farther. This is still a beautiful and hypnotizing record -- Lloyd Cole will never cut a poor album -- but I must admit that Cole sounds somewhat bored here. I wonder whether some kind of new direction is needed.

I absolutely love the title track and four others are great, but like all Lloyd Cole solo albums, the rest to me is just filler. Given he takes ages between releases because it seems record companies seem to ignore this man who has more talent in his left Scottish pinkie than an entire Justin Beebop hair follicle, I wanted more.

Definitely buy this if you're a Lloyd fan. If not, play "Music In A Foreign Language' for whomever is unaware of his Lloydness and convert them.

This is a long time coming, as I first listened to this album in a bus while travelling to Montreal in spring 2004. Dark record in a dark bus on a dark evening, and coincidentally, during the beginning of a lapse into a two year period of depression. And because of all these factors aligning, MIAFL has fused itself into my soul like a friend who was there when I needed them. "My Other Life", "No More Love Songs" and "Shelf Life" are like medicine.

As individual songs, many of the selections are fairly good. Mr. Cole continues to write thoughtful, unguarded lyrics that can become self absorbed. The arrangements and melodies are sparse and subdued throughout so it is hard to maintain interest after several cuts. I would suggest people try to borrow the CD first to determine if it is to their liking before making the purchase. His work with the Primatives exhibits a much better balance.