One of the most distinctive things about The Clientele’s standout 2005 album, Strange Geometry, is the pristine production and the incredibly arranged melting together of instrumental variety, vocal precision, and maturity. This album can largely stand alone and hold its weight with just about anything released from 2005 to the present, and even if The Clientele rode ponies into the sunset and never recorded again, we’d be blessed with a staunch catalog that has moved with the times and has grown with each subsequent release. Many of the things fans already enjoy about the London quartet remain on October 6th’s Bonfires on the Heath, but, yet again, The Clientele delivers on all musical levels here. Many will approach this, like me, wondering if a substantial follow up is in the cards and will leave the experience satiated with warm and impeccably produced ear candy, worthy of its own weight in gold and brilliant enough to stand alone within the band’s lengthy resume.
As with Strange Geometry, the band tenders Bonfires on the Heath with smoothness and flawless production quality. “Harvest Time” was the first leaked track of the album and I’ve been repeating it for weeks attempting to catch any sort of glitch to no avail. Lazy summertime harmonies and softly dissonant pianos create a richness that’s bold and intriguing. If it’s possible for a full on symphonic string section to sound quiet within a folky pop song, they manage it well. Alasdair MacLean’s standard breathy delivery hasn’t skipped a beat since their last release and his Lennon-esque style is filling in all the right ways. “Harvest Time” nods accordingly to British musicians of weight, and a Dark Side of the Moon vibe is impossible to shake and easy to connect. Creamy coffee sounding horn sections smoothly ride behind tracks like “I Wonder Who We Are” and “Tonight” and listening pores are refreshingly opened with each listen. The former is superbly mixed and all of the instruments blend together gorgeously. Gently bouncing guitar chords create ass-shaking rhythms, but avoid jarring the smoothed out edges of the production. At times, it’s difficult to choose between sighing and laying the seat back or dancing your ass off around your house. The latter is the 50′s diner track we’ve all heard before but loved every damn time. The soft piano sits front and center. Soft bass lines sit behind it all, and it oohs and ahhs it’s way into the cerebrum quickly. “Time is far too precious to be wasted on this life with you,” Alasdair croons contemplatively within the track. It’s not a happy song despite outward appearance. The album peaks with its title track where tear-dropping electric guitar arpeggios and super dreamboat vocal delivery is paired with unmatched production clarity. Ivories sing and tie everything together in this track and a slipping slide guitar pronounces the oozing talent in the band and how well they mix it all together.
Alluding to the lyricism is worthy of an aside here, as well. Matched up flawlessly with the clean production is a collection of not-quite-cathartic lyricism. The previously mentioned track, “Tonight,” includes a speaker hoping for one more flawless night in a relationship that’s already hit the skids. “Even though. You questionin’ my role. I am all that I can be. Tonight.” This is a horrible feeling and no closure is immediately offered. Many tracks weave through a catalog of rich emotional imagery and a connection to regret and memories of better times is splashed into the gorgeous melodies. The closing track, “Walking in the Park,” begins with the line, “I’ve been walking in the park. In a dying afternoon.” Things have faded by the album’s close lyrically. Mundane and simple pleasures still exist, but with a backdrop of recollective urgency. Importantly, the conglomeration of instruments blend so well, the music, at times, seems simplistic to an untrained ear. I suppose this matches the lyricism perfectly. Lots going on with Bonfires on the Heath on all levels. It’s fully loaded and aimed at success.
The dreamier nature of many tracks is toggled with more upbeat tunes, some even a little raucous and edgy. “Sketch” revs up the amplifiers and distortion a touch more and rhythmically rocks out. Spaced out nord electro synthesizers shake up tracks like “Share the Night” and horn flourishes dominate and wander throughout. The Clientele’s value with this record is that despite all of the similar sounds that weave through each track, variation exists and fleshes each track out individually. The second you’re entranced, they roll out jam band worthy guitar work and danceable numbers. A prime example of this chameleonic subtlety is in “I Know I’ll See Your Face,” where a killer classical guitar solo launches in on cue and pronounced triangle sounds and Spanish inspired horns breach the typical modes listeners have digested at this point in the album.
We can’t speak highly enough of The Clientele in general, and firmly endorse Bonfires on the Heath on October 6th. A 2009 music collection is severely lacking without this gorgeous testament to studio brilliance on the top of the heap. We like good music. It’s a human experience. I challenge our audience to pick this record up and do a few things for us. First, attempt to find a production flaw. Next, listen through the record three times in its entirety. If it’s not hitting you on multiple artistic levels successfully, I’ll buy you coffee next time you come to Cleveland. You’re in for a beautifully enriching experience with this one.
The Clientele – I Wonder Who We Are
Snag Bonfires on the Heath at Insound now!
