Customer Reviews

Through the Hill

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

 

 

Although his collaborator Andy Partridge, best known as the singer/guitarist of XTC, is quite a household name, "TTH" is perhaps the most overlooked item in Budd's catalog. Using a greater variety of instruments -- electric guitars, cymbals, gongs, and various other percussives -- there's nevertheless nothing here that will remind you of XTC's sophisticated singer/songwriter-rock. The sparse, sometimes dissonant arrangements allow for interplay between the musicians, and while this set of tracks and traces is less cohesive and melodic than Budd's best albums, certain elements here are enchanting. Each song sets another instrument to the front; "Great valley.." has floor-shaking piano bursts, "Western island.." comes up with descending guitar chords, "Well for.." and "Bronze coins.." feature vocals performances by Budd. My favorite pieces, however, are those with Budd's typical piano playing, particularly the title cut. Unfortunately, there are also some tracks here which seem fragmentary and unfinished even by Budd's own standard, and the scattershot quality of this album is slightly annoying. A good sound quality and a costly art-work package with several fold-out prints further augment the record's abstract allure, but it's hard to shake the suspicion that "TTH" could have been much greater if Budd and Partridge had shown a little bit more passion and enthusiasm.

This album is as beautiful as it is haunting and mysterious. Though much closer to a Harold Budd album than anything Andy Partridge has ever done, after repeated listenings, Andy's fingerprints are clearly evident.
Whether you are enjoying this as background/ambient music or are actively listening to it, it is equally applicable.
The album evokes dark imagery and the space isn't always comfortable, but it is always fascinating.
I give it my highest recommendation.

I understand when people say that "this album lacks cohesion, even by Budd's own standard." The problem isn't in the album's lack of cohesion, the problem is someone trying to find it. That would be, indeed, a futile search. This collection is one to be listened to as one best lives life; observing the waves and the inevitable sudden about faces with interest and alacrity, a willingness to try to grasp what isn't easily understood. Anybody can see the beauty in a Michelangelo or Monet. It takes a little more patience and discernment for a Picasso or Miro.