|1. C.F. Bundy|
|2. Trying To Explain|
|3. The Guilty Party|
|4. Whats Wrong|
|5. The Kursk|
|6. What The Fuck Am I Doing On This Battlefield?|
|7. A Waste Of Blood|
|8. The Maid We Messed|
Matt Elliott has rather an atypical course... He used to work under the pseudo third eye foundation - emblematic figure of the English electronic scene recognized for his atypical electro tinted by drum' N bass. Since his first albums: "the mess we made" (domino records) and "drinking song" (Ici d'ailleurs.), Matt Elliott turns to compositions much more folk, forsaking the laptop and the machines - which go until disappearing on "failing songs", to return to more traditional instruments (guitar, piano, violin...). To succeed to "drinking songs", because it's really about songs, "failing songs" turns Matt Elliott into a true songwriter. He assumes completely his voice and sings very personal and dark texts.Songs whose subtle melodies contrast with the hardness of the words because "Failing songs" is a hard failure report. Between despair and cold anger, the texts talk about the liberal military evolution of the world that the author rejects. The Titles are as sublime as melancholic, bitter and sad, impressed by Slavic music, Greek, and besides, sometimes punctuated of Spanish guitars, sometimes close to Dimitri Chostakovitch or Pascal Comelade's sonorities at his beginnings an artist that Matt however reveals not to know).
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A few years ago, I was going through a personal crisis. It was a difficult time for me, and I was depressed, did not go out much, did not communicate much. Then I discovered Matt Elliott.
Sometimes your emotions, your thoughts, your mood - all have to come together, in some exact moment, in order for you to like the music that you are listening to. This was such a moment for me. I don't know if in any other moment I would feel the same way about this album.
"Howling Songs" is sad, melancholic, dark, disturbing, experimental. Its gloomy sounds, along with Matt's singing, will make for good comapny when you're down. It will make you feel like someone understands you, when no one else does.
"All goes for a reason? Or no?
Please let me know, my fallen friend, I've failed you again, again..."
(From "The Kübler-Ross Model")
Matt has a low, rough voice, he mumbles the lyrics and they're hard to make out; but it fits the music perfectly. He is a skilled guitarist and a skilled soundman, clearly.
The songs are long, they are built on classic, familier rhythms - Spanish guitar and Flamenco, March, Waltz and even Tango - but there is nothing routine about them. They start very minimalistic, just Matt's guitar, sometimes with strings or keys in the background. Sometimes they change their nature or rhythm in the middle. Towards the end, they grow stronger, louder. Matt loops several layers with his guitar, gradually he adds more and more, until it becomes noisy, dirty, distortioned, disharmonic even! They shriek and they scream in chaos, until they overload and blow up.
It's not an easy album to listen to. I won't recommend it to anyone.
I think that it's an absolutely amazing album, it helped me through a rough time, and I am so grateful for it. But the simple truth is, that I can't listen it today, I don't want to. I have moved on, and I just don't... need it, anymore; and I'm grateful for that, too.
So to sum it up... If you're feeling sad, hurting, you might find comfort in this album. If you woke up smiling this morning - I'm happy for you! - but you probably won't like it :)
A talented musician.
On that release, he backed away from the breakbeat outbursts even more and honed in on actual organic instrumentation and even ventured into including vocals on his track. The result of which was an album that still had many of his moody trademarks (like eerie, pitch-bent instruments and vocals), but touched on new genres like Eastern European folk music. It was a welcome change of listening (despite my enjoyment of his past work) and showed that he was moving beyond boundaries that anyone may have set for him.
Drinking Songs is an even further and logical continuation from the sound of his previous album, and finds Elliot relying even less on filtering and electronics. On the release, Elliot plays a wide variety of instruments (acoustic and electric guitar, vibes, , piano, bass) and is joined by others playing cello and trumpet. The vocals are even more prominent in the mix, and the result is just what you might expect given the title of the release and the direction he hinted at on the previous release with songs like "The Sinking Ship Song."
The release opens with "C.F. Bundy" a long, creepy instrumental that bobs and weaves without any percussion, and actually just sort of morphs into the shorter second track "Trying To Explain," which finds Elliot layering multiple vocal parts, playful electric piano, and electric guitar that give it a feel similar to what you'd expect from Tom Waits. "The Guilty Part" and "The Kursk" both continue the bar-song sing-along style tracks (with the exception of the startling sound effects which open the latter track) that focus on haunting themes. Unfortunately, the tracks both mimic each other (and other tracks on the release) structuraly, progressing naturally and appealingly before sort of stalling out about halfway through and relying on backwards tracking and effects to close out.
The above is unfortunate, because the tracks needn't be needlessly long and Elliot is plenty good at keeping some dynamics on the release and writing concise songs without resorting to gimmicks. "What's Wrong" is a perfect example of this, mixing accordion, guitar, piano, and multiple layers of vocals (again, adding to the sing-along effect) into a sad lament on the state of the world that quotes one of Ghandi's most famous lines. Although the liner notes state that it should be viewed as a piece unrelated to the album itself, the twenty-minute closer of "The Maid We Messed" is another fine example of what Elliot has to offer. The track opens with slow progressions of layered instrumentation before careening wildly with growling basslines and heavy drum programming. The result is one of the strongest tracks that he's done on his past several albums and a huge punctuation mark on the somewhat uneven Drinking Songs. Here's hoping he can bridge the two sides of his work even more powerfully on his next effort.
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