Elbow Albums (4)
What The Critics Say
In a world where even the generally mediocre likes of Snow Patrol can have honest to goodness mainstream pop success, it seems peculiar that Elbow have never broken through beyond a devoted cult following. (Admittedly, the fact that their new labels, Polygram's alt rock imprint Fiction Records in the U.K. and Geffen in the U.S., are their fourth and fifth, respectively, after stints on Island, EMI, and V2, may have a lot to do with their lack of mainstream attention.) Exploring the fruitful middle ground between early Radiohead's mopey art rock and Coldplay's radio-friendly dumbing down of the same, Elbow makes records built on a balance of things not often found together anymore: strange musical textures alongside immediately accessible pop song choruses, or unexpected left turns in song structure paired with frontman Guy Garvey's warm, piercing vocals. It's no surprise that Elbow are regularly compared to old-school prog rockers like Pink Floyd and Electric Light Orchestra: they're proof that records can be cool and commercial at the same time, an idea that's not particularly hip in this day and age. Yet a song like "Grounds for Divorce," which puts a sharp, wryly funny Garvey lyric against a clanging, Tom Waits-like arrangement and throws on one of the album's catchiest tunes for good measure, or "Some Riot," which filters a yearning, lovely melody for guitar and piano through so many layers of effects and processing that it can be hard to tell what the original instruments sounded like, isn't afraid to display its accessibility even on its most experimental numbers. At the album's best, including the spacious, atmospheric balladry of the opening "Starlings" (imagine if Sigur Rós could write a pop song as emotionally direct as Keane's "Everybody's Changing") and the potential radio breakthroughs of the soaring, semi-orchestral epic "One Day Like This" (complete with choral climax!) and the wistful "Weather to Fly," The Seldom Seen Kid is Elbow's most self-assured and enjoyable album so far. [The U.K. version added "We're Away" as a bonus track.] ~ Stewart Mason, All Music Guide
What The Critics Say
When Doves headed to the studio for the recording of their third album, 2005's Some Cities, they returned home to Manchester. With that kind of scenic inspiration and emotional attachment, Some Cities resulted in Doves' best of their career at that moment. It is mere coincidence that their musical mates, Elbow, have done the same for their third album, Leaders of the Free World. Such a coincidence is a bit comforting in the respect that Elbow do not stray from what they have previously done. Despite being cast as a gloomy bunch on their first two albums -- 2001's Asleep in the Back and 2004's Cast of Thousands -- Elbow trudge on as an emotional band. Singer/songwriter Guy Garvey doesn't wallow in failed relationships as much as he enjoys being cynical and playful about the world around him. Sure, Elbow's more melodic, pensive moments such as "The Stops" and "The Everthere" are classic heartbreakers, with piano-driven melodies lush in melancholic acoustic guitars and Garvey's somber disposition. Leaders of the Free World really comes to life when Elbow give in, allowing these songs to grow into something glorious. Album opener "Station Approach" and "Forget Myself" are brilliant examples of this. "Forget Myself" metaphorically points fingers at a media-obsessed culture that is equally blasé about its own issues. Garvey throws his hands in the air, sighing to himself to "look for a plot where I can bury my broken heart." The album's title track also criticizes a very questionable political system, demanding, "I need to see the Commander in Chief and remind what was passed on to me" as a storm of electric guitars mirrors an anxious, waxing delivery by the band itself -- "Passing the gun from father to feckless son, we're climbing a landslide where only the good die young." Elbow are a great band regardless of what it takes for them to find their footing. Leaders of the Free World is a bit more rock & roll than not, with guts and heart, because Elbow have finally embraced their powerful, surrounding space this time out. ~ MacKenzie Wilson, All Music Guide
What The Critics Say
Elbow fiddles with a battery of widescreen dynamics and slight prog rock tendencies, delivering an epic debut of Manchester miserablism that will likely gain comparisons to fellow Mancunian band Doves (rightfully) and Coldplay (wrongfully). Like Doves, Elbow has enough supple shadings and tasteful textures to hold interest without vocals. However, where you have dance producers at the core of Doves, you have a highly emotional songwriter at the core of Elbow. Despite constantly dipping into an overflowing well of sonic tricks (the non-wank variety), each of Guy Garvey's songs would be able to survive with a lone acoustic providing accompaniment. Judging from Garvey's rough-hewn voice, he could be forgiven for sinking into a misery-addled torpor; thankfully, that's not the case -- given enough instrumental prodding from his cohorts, Garvey's voice can soar and seethe with the best of them. Tally these qualities and you have a record that glides above the host of bands who prattle aimlessly about their pin cushion-frail souls. After all, Asleep in the Back is more about getting through and sustaining than it is flat-out moping or asking for a hug. The tempos might not ever exceed mid-level, and half of the songs might exceed five minutes, but the record is anything but a difficult listen or tough to wade through. When the acoustic strumming, piano twinkles, liquid basslines, and muted horns are this engaging and well arranged, it's difficult to wring yourself from the web. If you can only spare eight minutes to test drive the record, go straight to "Newborn," the sweeping centerpiece with enough catharsis and heavenly Talk Talk-informed organ that you'd swear it came from the second side of Catherine Wheel's Adam and Eve. Stacked against other debuts out of Manchester, theirs is no disgrace. ~ Andy Kellman, All Music Guide
