Customer Reviews

Seldom Seen Kid

5 star:		(49)
4 star:		(33)
3 star:		(15)
2 star:		(4)
1 star:		(2)

 

 

In my view, Elbow has been not received the attention they've deserved, neglected and passed by as the spotlight has shown instead on similarly innovative countrymen Radiohead and Coldplay. Perhaps their excellent new CD will change that. The Seldom Seen Kid moves from songs filled with Pink Floydian grandeur (ex., "the Loneliness of a Tower Crane Driver"), to Beatlesque sing-alongs ("One Day Like This") and a lot of quality material along the way. The arrangements are stunning, including an extremely effective use of keyboards and synths. There is an interesting variety of musical moods including the dark carnival ride of "The Fix," a relatively straight-ahead blues rocker (the mighty "Grounds for Divorce") and a couple of gloomy widescreen ballads. This new Elbow recording is so good it's made me want to go back and reassess their previous works. It's one of the better things I've heard so far in '08.

Elbow, in my honest opinion, are one of the world's most highly underrated bands.
This album deserves listen after listen after listen.
Each time I keep finding more and more reasons to think if this album as one of the best albums for years, and a sure contender for an album of the year.
Stand out tracks.
Bones of You. Storming track with an amazingly clever mix of hard bass line and single note acoustic strumming. Simply amazing.
Mirrorball. Simply put, this has to be one of the best tracks on an album ever.
The kick drum beat and piano in this track send shivers down my spine. EVERY. TIME. I. HEAR. IT.
Weather to Fly. Gorgeous. Pure class.
Elbow have just pulled out all the stops on this album. It is climbing very quickly to one of my all time classics.
And above all, I just cannot write a review without mentioning Guy Garvey's lyrical genius.
If I gush on about his way with words, I'll embarass myself. He has a gift. He is one of modern rock's geniuses.
I'll leave it at that.

Elbow, one of my favorite active bands, have never made a truly perfect album, and this isn't one either. It doesn't need to be. Destined as with its predecessors to get many and many a spin in my player, Elbow's fourth release continues to demonstrate why they are far ahead of the field. The murky, melancholy Mancunian brit-rockers give us another round of pint-aided romantic reflections on the everyday, with the customary layers of thick guitars, pianos, and cavernous snares and kicks.

In each previous album, Elbow's thrown something new into their trademark sound. This time, it's a bit of a showman's edge, most notable in the the zany track The Fix (which with Richard Hawley's co-vocals sounds like a preposterous musical number from a Tim Burton flick), and also on One Day Like This (the string melody of which recalls My Fair Lady). There is a greater emphasis on the string section, starting with the dramatic stabs in the otherwise breezing opening number Starlings. As always, there's a classic Elbow stomp track (the amusing Grounds for Divorce takes its place alongside kindred spirits Fallen Angel and Forget Myself). There's the late-album lull (the piano-dominated Some Riot). There's the would-be anthem (One Day Like This tries but doesn't have the stunning emotional power of the immaculate Grace Under Pressure from Cast Of Thousands). There's the classic piano-driven ballad (Mirrorball, a gorgeous track, one of their best).

Then of course there's Guy Garvey's top-notch lyricism, again on display here. If Asleep in the Back's lyrics were dominated by urban rat race discontent, Cast of Thousands' by gossip, and Leaders of the Free World by love and heartbreak, this record has a far more domestic feel, which seems natural as the band ages. Songs about fatherhood, divorce, old friends, and the like abound. Garvey still has the unique ability to be brilliant about the ordinary. "We took the town to town last night, we kissed like we invented it," he sings on Mirrorball.

For me, this outing doesn't quite carry the natural ease of fit that their debut did, so I'll call it their second or third best record, if I've got to rank 'em. Still, by the time we reach the outro -- the gentle and moving Friends of Ours, a track similar to Great Expectations from their last record -- The Seldom Seen Kid has taken its place as one of the band's highlights. When these guys come up with a best of -- and here's one fan hoping there will be several more records of this caliber before it comes to that -- the top numbers from this will fit in right alongside all the rest.

Elbow's "The Seldom Seen Kid" truly gets better with every listening. The music's indie mix of synthesized keyboard tempered by bluesy guitar complements the soulful voices of lead singer Guy Garvey and the rest of the band. Pink Floyd seems to be a definite influence, especially in "The Loneliness of a Tower Crane Driver" and "An Audience with the Pope," but don't think for a minute that Elbow's sound is derivative. "The Seldom Seen Kid" exudes originality on every track.

There's not a single song I dislike on this CD, although I have my favorites: "Grounds for Divorce," "The Bones of You," "An Audience with the Pope," and "On a Day Like This." The instrumental texture varies from track to track, from the percussion and synthesizer-driven "The Fix" (which sounds like it might belong in a contemporary musical) to the orchestration of "On a Day Like This" to New Age-sounding opening notes to "The Starling" to the acoustical guitar and piano of "Friend of Ours." The unifying factor is Garvey's pure voice that never dominates; he sings as though he is another one of the instruments. The band has dedicated this CD, in particular the song "Friend of Ours," to a friend who passed away, and their affection and longing comes through, even on some of the more upbeat songs.

I have listened to "The Seldom Seen Kid" a dozen times, and each time I like something else about it. I highly recommend this CD to anyone who appreciates indie/alternative rock with a clean, yet complex sound.

Alcoholism, loneliness, a band's early formation, and most importantly: the thrill and fear of love, whether it's just starting or in full bloom.

Those threads run through Elbow's fourth album, "The Seldom Seen Kid," turning it into a brooding, mildly melancholy little affair -- very unlike their last album, I think. And it's also a sign of how polished and mature this Manchester band's music has become over time, with delicate little indiepop tunes full of keyboard blues and solid lyrics.

It opens with a cacophony of weird vocals and clashing keyboard sounds, only to fade away into a gentle, bluesy little indiepop melody filled with volcanic highs.

There's a lot of trickling piano and trembling sweeps of keyboard. Guy Garvey's rough voice sings a bittersweet little song about how he dreams of "you and I/And marriage in an orange grove," and how the girl he adores should "find a man that's truer than/Find a man that needs you more than I." After describing how he feels, he adds faintly, "Darling, is this love?"

I'd say yes, probably.

In case there is any doubt, we're then treated to the stormy catchiness of "Bones of You" ("I can work till I break/but I love the bones of you/That, I will never escape") and the exquisite violin-riddled ballad "Mirrorball" ("You make the moon a mirrorball/The streets an empty stage/The city's sirens, violins/Everything has changed"). It's all love, whether it's fearful, joyous or painful.

After that trio, things get a wee bit darker with the blurry bluesy "Grounds for Divorce," and the string of songs that follow -- suspenseful pianopop, warm smooth Britpop tunes, droning laments about being alone, a rollicking sunny little indiepop melody, and the ghostly piano-led "Some Riot."

And in the middle of it, they tack in "The Fix," which is probably the weirdest material Elbow has ever turned out. It sounds a bit like a visit to a harmless-yet-creepy carnival populated by ghosts, with a swirling chorus that sounds like something Tim Burton would create. I have no idea what the lyrics mean though ("The fix is in/The jockey is cocky and vicious").

Listening to an Elbow album is a little like revisiting a friend you haven't spoken to in awhile, and hearing how things have changed for them. Quite a bit has changed for Elbow -- their music here is a bit more mellow, more domesticated in style, and more reliant on a bluesy vibe as well as the usual Britpop guitars and drums.

In fact, their lush music is also heavily imbued with shimmering, chilly synth and keyboards, giving it a slightly otherworldly air. But the core of the music is no less alluring -- solid riffs that can be satiny-smooth, ringing or fuzzed-out, solid drums, and a gentle piano that trickles through most of the album. And some of the sweeter songs are draped in some lovely violins.

It certainly doesn't hurt that the solid lyrics have moments of pure poetry ("The violets explode inside me/when I meet your eyes/Then I'm spinning and I'm diving/Like a cloud of starlings"). Garvey's voice sounds very rough-edged at first, until you hear just how much emotion he can cram into his vocals -- he drawls, wails and murmurs, sounding melancholy all the time.

"The Seldom Seen Kid" adds a bluesier, more ghostly edge to Elbow's lush Britpop, without changing what made them such a great band. Definitely one of this year's must-hears.

I have been a mild Elbow fan for a few years; there previous couple of albums where enjoyable with a few good cuts that stood out. But where these previous efforts were good to play while doing other things where they became kind of like a score for life at the moment, the new album, The Seldom Seen Kid, becomes more like a soundtrack to life.

I must admit that I missed this album at first listen; it didn't capture my attention. But, after a couple of passes, The Seldom Seen Kid became part of my life. This is a strong effort that surpasses all of Elbow's previous albums. Where previous albums had some catchy tunes that stood out, this album is just plain very good from start to finish with each song building into the next.

The Seldom Seen Kid has promoted Elbow from a middle of the road Prog Rock band to something a few steps removed. The Prog Rock roots are still very evident, but this album is more epic, more sonic. In some ways it reminds me of Radiohead; it is not quite at In Rainbows level and Elbow isn't as sonic as Radiohead, but The Seldom Seen Kid affects my day in the same way that In Rainbows does.

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A Guide to my Music Rating System:

1 star = Not worth the blood dripping from your ears/
2 stars = Don't bother, clean your bathroom instead.
3 stars = Wasn't a waste of time, but it was time wasted.
4 stars = Good music, but not life altering.
5 stars = This music changed my world in at least some small way.

When I got this album, I had no idea what to expect. The description was vague, but I have to say on first listen this album had be hooked.

This album has elements that make it atypical. It has a cross-cultural sound that to me isn't unlike Peter Gabriel's work. What it adds to that sound is strong instrumentation and equally strong vocals. One can't help but feel good after listening to the album as it's ambiance is really uplifting.

It has made me a repeat listener. "Starlings" is really a great intro to the album which puts a strong dynamic sound at regular intervals amongst an otherwise relaxing song. While the dynamic variation is never as strong through the remainder of the album, the melodies, timbre, vocals, and poly-rhythms only get stronger and mix things up enough to make each listen a new experience. All of this variation is subtle enough that the album holds up as a coherent piece that will possibly have a different sound depending on your own mood and emotions.

All I can say, is that this album is a welcome relief as way too much of today's popular music puts everything out front without a challenge to the point where it can get boring. This album never gets boring.

I guess with that in mind this isn't unlike some other greats such as Peter Gabriel, which this album seems to have a loose similarity too. The sound also reminds me a bit of modern day Radiohead minus the vocals (thankfully). In other words, Elbow presents a multi-layered album that will easily stand the test of time. I look forward to exploring more of their albums, and I think an exploring listener should give this album a chance.

Elbow is a British pop/rock band that has been around for about 11 years, but The Seldom Seen Kid serves as my introduction to them. Overall they have put together a very solid CD that has some radio friendly tunes.

Most of the songs share a common theme and style. Singer Guy Garvey, who wrote the lyrics for all of the songs, has had at least one relationship that has gone topsy turvy as the lyrics in the majority of the songs show. This lends a genuine quality to the music. Most also have a mellow sound to them with The Bones of You being representative of these. I really liked this song because you can feel a sway from the dynamics of the lyrically delivery.

One noted counterexample is Grounds for Divorce which is a rollicking number with high energy sound that includes fuzzy distortion on the guitars that you would swear is coming from Jimmy Hendricks. The first line of the song also contains the title of the CD. The other interesting departure is The Fix which has guest vocals and lead guitar from Richard Hawley. The first time I heard this song I thought it had a slight Cuban/Latin influence.

There are a couple of clunkers on the CD, and these oddly serve as the bookends. Starlings has multiple places where blaring instrumentation comes in for a quick hit. From the first time that I heard it until now, I have found it to be very jarring. Friend of Ours is short on lyrics, and it seems like it is very personal. To those not in the know, it
just falls flat.

At the end of the day these are not fatal flaws. If you are looking for a CD that is mostly mellow with a couple of interesting diversions along the way, give this a try.

Download this: Grounds for Divorce

Its very difficult to put into words what the music of 'Elbow' has come to signify in my musical world over the past 4-5 months.
Lets put it this way - the 20-25 albums that I have heard after that - the comparison is always with 'Elbow' and this album in particular. No wonder then that this album won the Mercury Prize for 2008 as well.

Spell-binding ..right from the word go - as the first notes of Starlings hits your ears to the last track 'Friend of Ours' - this album is a miracle in its own right. The sounds are crystal clear, the vocals are amazing, the lyrics are stunning and of-course this is Indie Brit rock at its best.

Just one more thing - if ever you get a chance to attend an Elbow concert - do it without thinking twice. They sound exactly the same in person as they do on CD.

-A

Elbow may be, for many over here in the States, the best band you've never heard of.

The better British acts are producing music of a sublime quality compared with many of their American counterparts. Manchester quintet, Elbow, may be the most unheralded of that bunch. While Coldplay and Keane have gone on to see their works used to hock everything from indie films to consumer goods, Elbow have remained on the fringes of commercial success; quite possibly by their own doing, but certainly not in spite of themselves. They have progressed both logically and measurably with each release while eschewing the temptation to write albums rife with catchy singles for the radio-fed audience. At the same time, they've not gone the avant garde route of other bands more fixated with being respected as serious artists, rather than admired by their loyal fans. Elbow's brilliance lies in the details and this new release is packed with all the sublime subtlety and vivid accents that have become the hallmarks of their sound.

Overall, Elbow records are designed not as delivery devices for occasional, epic singles, but as complete works to be heard in their entirety. In fact, vocalist Guy Garvey has been particularly outspoken in his disdain for iTunes' selling practices taking away from artists who, like Elbow, write records designed for uninterrupted listening. The Seldom Seen Kid may be their finest example to date of this deliberate approach. This isn't to say Elbow don't write the occasional toe-tapper. "Grounds For Divorce", in particular, is a Zeppelin-esque thumper designed for repeat play on many an iPod. "The Loneliness of a Tower Crane Driver", in particular, is an astonishing standout and worth the price of the whole album.

Elbow's songs are accessible without being glib and inventive without being ostentatious, driven by their big, Manchester sound and buoyed by Garvey's astute lyrics and haunting vocals. Overall, The Seldom Seen Kid finds Elbow in remarkable form. Previous releases, while brilliant in their own right, were characterized by clever interplays of stadium-sized romps and sparsely-tuned ballads. This new work shows Elbow at its conceptual best, marrying a collection of richly-composed tunes into a complete and masterful showcase.