Joseph Arthur
Lets Just Be LP / Nuclear Daydream LP
One of America’s finest song writing exports in many a time, the ever prolific Joseph Arthur releases not one, but two albums on the same day. A song writing obsessive, famed for his live shows where he would often paint as he sang, Arthur has steadily been growing in both acclaim and sales over the past few years helped in part by some high profile supporters (Stipe, Bowie, Coldplay) as well as some well placed syncs (Greys anatomy, The OC et al) and support slots with the likes of REM.
As a pair of albums, despite being recorded a year apart, these two pieces of work hang together fantastically well as the next stage of the evolution marked out on 2005’s excellent “Our Shadows Will Remain”.
Lets Just Be, the product of three weeks of no frills back to basics recording, sees Arthur in a playful, post tour mood. Along with new backing band The Lonely Astronauts, Arthur crashes his way through his own frazzled brand of country rock. Opener, the ultra stonesy “Diamond Ring” sets a high watermark for what’s to follow with its delicious twang and unpolished edges.
Throughout the album the band frequently pull twists and turns out of thin air to take the listener on a rollercoaster of tender ballads, country tinged rockers and densely layered sections reminiscent of Arthurs astonishing one man shows (where he would construct whole banks of loops over which to sing). The triumvarate of Lonely Astronaut, Cocaine Feet and the album’s title track in particular providing more thrilling moments in the space of fifteen minutes than any man really ought to have any right to lay his hands on.
On the other hand, Nuclear Daydream released last year in the US sees Arthur in a more reflective mood. A close cousin to Becks’ Sea Change, the album is a masterpiece of mournful balladry and raw emotion. As strings drape themselves over Arthurs gravel voice, tinges of battered synths and loops appear; the sound of 22nd century country as beamed back through time by Arthur’s grandchildren. weeping slide guitar and hushed tones usher the listener across a desolate sepia tinged landscape, taking in forthcoming single ‘Enough To Get Away’ as well as other gems ‘Black Lexus’ and ‘Dont Tell Your Eyes’.
It is testament to Arthurs vision and consistently high standards that these two albums – despite being separated by time and personnel – have a vibrancy and a continuity that travels through both and points them to being consumed as a double album rather than on their own. Like twins, each has its own personality, one rambunctious and care free and the other more withdrawn and methodical, but like twins – each needs the other and there is no reason I can think of, not to love either.
An excellent pair of additions to this man’s back catalogue, these two records offer up proof of a genuine legend in the making. Who else, after all, has offered up three very good to great albums in just over two years? Whether a dud is in the pipeline is something that only time will tell but for now the man shows no signs of letting up steam and that, is great news for everybody.
Guest article from Ben M.
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