Customer Reviews

Recording a Tape the Colour of the Light

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If the world had gone a bit differently, then Arcade Fire would sit in the shadow of Bell Orchestre.

But while Arcade Fire boomed onto the indie scene, its artier sister band Bell Orchestre's debut has slipped quietly onto the scene. Don't compare the music. "Recording a Tape the Colour of the Light" is an enchanting sonic journey full of magical instrumentation and stately psychedelic orchestration.

It opens with "Recording A Tunnel (The Horns Play Underneath The Canal)," an eerie, trembling collection of horns and strings, which melt away into the sound of traffic, then fade out completely. Then it swells up again into a stately, ponderous tune that circles around itself, before exploding into a bizarre new style. I'm not sure what to call it -- classical punk or psychedelic gypsy, maybe.

That vibe continues into a foot-stomping fiddle song, laced through with sirens, and growing murkier and more epic by the minute. Then it's back into the world of fog-smothered ambient, effervescent violin psychedelica, sparkling music-box pop, and what sounds like an indie-rock Christmas epic.

It finishes up with a thirteen-minute epic that, unlike most songs of that length, is only a little too long. It begins soft and confused, before smoothing out into gentle string melodies, and ending on an ominous, almost ghostly note. Then it falls completely silent.

Yep, that's a musical journey. It runs the full gamut from A to Z, and through various letters that nobody knows about.

In truth, "Recording a Tape the Colour of the Light" does feel like an emotional journey: There are moments of joy and beauty, there are moments of sadness, fun, sneakiness, and discouragement. As a result, it's less like a collection of songs than it is one enormous song.

And it's to Bell Orchestre's credit that they can keep up a level of excellence throughout the entire album. At times it lapses into a sort of ambient sound, but keeps itself fresh with sparkling electronic notes, like little silver bells. Elsewhere, there are sharply plucked strings that bring mischief and sneakiness to mind, or robust string arrangements that make you think of gypsy camps. There aren't any vocals to draw your attention away. Just the shimmering instrumentals.

And in the tradition of similar bands like Olivia Tremor Control, Bell Orchestre shares two members with Arcade Fire. Richard Reed Perry dominates on bass, some subtle, muffled percussion, and keyboard, while Sarah Neufeld plays the violin, both as a fun dance instrument and with aching sweetness. Others like Kaveh Nabatian and Pietro Amato add their talents, in everything from trumpet to melodica to the rare guitar.

With its stately classical arrangements tinged with indiepop, Bell Orchestre created one of the most unique and magical albums of 2005. Almost guaranteed to give you strange dreams.

i just picked this album up. and instantly loved it with some of the members of the arcade fire showing there raw musical talents. and the combination of classical sounds mixed with indie drums, a fan fare for the urban people.

While the music industry as a (w)hole has gone to the dogs, off in the dusty corners a few pioneers continue to bring forth music to warm the soul of even the most jaded ex-critic. Bell Orchestre is one such unheralded bright spot.

Like Clogs, whom they resemble (somewhat) this quintet of french horn, trumpet, violin, bass & drums is informed by both rock & classical, creating a melange which is impossible to pigeonhole. Perhaps the best description -- and the highest compliment -- is to suggest that this is what Penguin Cafe Orchestra might sound like if Simon Jeffes were still with us. Except Bell Orchestre is up-to-the-minute with modern electronic touches and treatments, so they're nobody's reincarnation. Truly pleasant, innovative and original, they prove that even in a moribund industry the present day composer refuses to die!

This was suggested by Amazon based on a purchase of stuff by Owen Pallet who I heard interviewed on the Vinal Cafe. It was nothing like I expected and I need more.....it (like Arcade Fire and Owen Pallet's Final Fantasy; although I am not sure it is normal for people my age to love this stuff) has opened up a whole genre of music that has gotten my entire head involved, not just my ears. I am 54 and I have a renewed passion for music. "Wicked fun", again.

If the world had gone a bit differently, then Arcade Fire would sit in the shadow of Bell Orchestre.

But while Arcade Fire boomed onto the indie scene, its artier sister band Bell Orchestre's debut has slipped quietly onto the scene. Don't compare the music. "Recording a Tape the Colour of the Light" is an enchanting sonic journey full of magical instrumentation and stately psychedelic orchestration.

It opens with "Recording A Tunnel (The Horns Play Underneath The Canal)," an eerie, trembling collection of horns and strings, which melt away into the sound of traffic, then fade out completely. Then it swells up again into a stately, ponderous tune that circles around itself, before exploding into a bizarre new style. I'm not sure what to call it -- classical punk or psychedelic gypsy, maybe.

That vibe continues into a foot-stomping fiddle song, laced through with sirens, and growing murkier and more epic by the minute. Then it's back into the world of fog-smothered ambient, effervescent violin psychedelica, sparkling music-box pop, and what sounds like an indie-rock Christmas epic.

It finishes up with a thirteen-minute epic that, unlike most songs of that length, is only a little too long. It begins soft and confused, before smoothing out into gentle string melodies, and ending on an ominous, almost ghostly note. Then it falls completely silent.

Yep, that's a musical journey. It runs the full gamut from A to Z, and through various letters that nobody knows about.

In truth, "Recording a Tape the Colour of the Light" does feel like an emotional journey: There are moments of joy and beauty, there are moments of sadness, fun, sneakiness, and discouragement. As a result, it's less like a collection of songs than it is one enormous song.

And it's to Bell Orchestre's credit that they can keep up a level of excellence throughout the entire album. At times it lapses into a sort of ambient sound, but keeps itself fresh with sparkling electronic notes, like little silver bells. Elsewhere, there are sharply plucked strings that bring mischief and sneakiness to mind, or robust string arrangements that make you think of gypsy camps. There aren't any vocals to draw your attention away. Just the shimmering instrumentals.

And in the tradition of similar bands like Olivia Tremor Control, Bell Orchestre shares two members with Arcade Fire. Richard Reed Perry dominates on bass, some subtle, muffled percussion, and keyboard, while Sarah Neufeld plays the violin, both as a fun dance instrument and with aching sweetness. Others like Kaveh Nabatian and Pietro Amato add their talents, in everything from trumpet to melodica to the rare guitar.

With its stately classical arrangements tinged with indiepop, Bell Orchestre created one of the most unique and magical albums side bands have made. Almost guaranteed to give you strange dreams.