Words and their ticklish dual meanings have ever been held preciousby Belle And Sebastian, so it`s not very surprising that the claim of their newrecord (and low in 4 years), Write About Love, has thepotential for multiple interpretations. Obviously, the ring has craftedand collected a mess of new songs about romance, affection, and thetrials that often go along with giving your heart away, as they havebeen for their entire career.
But when you say the list of the recordaloud, there is likewise this underlying, inherent arrogance in the titlethat implies that the band`s understanding of matters of the heart areindeed correct and true.
It`s an interesting contrast in meanings, and certainly, knowingfrontman Stuart Murdoch`s rather mordant sense of humor, he and the bandcould just be winning the water on both accounts. But whatever the case,the Glaswegian collective has thankfully, after a prolonged hiatus,recorded another album full of their patented twee-pop goodness, andit`s one that finds the band doing away with most of the glossy funk of The Life Pursuit and reverting to the refined, diaphanous song structures of their other work.
Perhaps Murdoch`s experience while recording the God Aid The Girl recordgave him the authority to increasingly lean on and faith in hisbandmates while serenely blending into the background a bit more. Thategalitarian approach is evident straight away on Write About Love, whichbegins with Sarah Martin singing a lovely lead on "I Didn`t See ItComing.` It`s a lilting, buoyant number that has an indelible melody anda sweet, ethereal breakdown halfway through where the circle gets to showoff their polished, expansive sound. Stuart takes over the lead on`Come On Sister,` an upbeat, keyboard driven number that features theplayful lyrics we`ve come to look from B&S: "Everyone loves you,the boy in the corner, the postman, the policeman." The strain is a poppylark, and it`s what the ring does best.
The style and the final few phrases are the better things about`Calculating Bimbo,` which is a bit of a plodder when compared to thefestive start of the record. But things pick back up immediately with `IWant The Universe To Stop,` a jaunty singalong that is one of the album`sclear standouts and again finds the band playing to their manystrengths. Try and resist clapping along when the bass breakdownhits-it`s perfectly impossible. `Little Lou, Ugly Jack, Prophet John`seems to be acquiring a lot of attention, for reasons both serious and bad.It features the guest vocals of Norah Jones, which caught many longtimefans (myself included) off guard and made enough of listeners anxious tohear the results.
And while it`s not near as bad as most critics have made it out tobe, it`s clearly not an exceptional song, and seems a bit out of placenot only on the show but in the B&S canon as well. When they havesuch distinct and resonant voices in the band (including theever-progressing Stevie Jackson, who sings his eye out on `I`m NotLiving In The Actual World`), there is really no cause to go outside ofthe band for such high-profile vocals unless you`re pandering a bit togain a new, wider audience. That being said, though, the curiousselection of actress Carey Mulligan to sing backing vocals on the titletrack somehow works, simply because the call is ultimately so much fun.
The 2nd half of the show is more careful and melancholy than thefirst, but the songs still resonate poignantly, with `The Ghost OfRockschool` subtly echoing `Everyday People,` as well as evoking howmuch things have changed for the ring since `This Is Only A Modern RockSong` brought them out of their bedsits and into the spotlight. Themuted nature of the back side continues with `Take The Blessed Pages,`which is as bare and austere a call that Murdoch has ever committed torecord, with most of the track featuring just Stuart`s solemn vocalsover a delicate guitar riff. It surely won`t grab people`s attentionin a noisy room, but like Radiohead`s `Faust Arp,` it`s a gorgeous,tenderhearted ditty that certainly has a lively point on the record.
The rich horns have a welcome reappearance on `I Can See YourFuture,` which again finds Murdoch content to float on the periphery,letting Martin sing lead on the wistful number. Producer Tony Hoffer,who keeps things rather understated throughout much of the record, adds abit of splendor to `Sunday`s Pretty Icons,` the lavish closing numberthat, even if it`s a touch overproduced, still works, and finishes therecord in an upbeat, stately manner.
Belle and Sebastian have gone through a steady (and not so steady) evolution since Tigermilk, gainingand losing sight of fickle fans on the way. But they`ve alwaysmanaged to make and work by their own rules, keeping themselvesinterested and inspired before ever thought about having that sameimpact on their fans. And while they`ve crafted plenty of desperatelylonely songs about frustrated heartbreak and youthful experimentationover the years, it`s capital to learn that they are still fascinated enoughby the conception of passion to continue writing about it, eagerly trying tofinally get the words (and emotions) just right.
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