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David Gray’s Emotional Journey: A Review of Dear Life

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DAVID GRAY: Dear Life

(Laugh A Minute)

Verdict: Shimmering song-suite

David Gray’s new album draws heavily from his 1998 breakthrough, White Ladder. This record, which didn’t reach its peak until three years after its initial release in the UK, significantly changed the direction of British pop by moving the spotlight off guitar bands and onto sensitive solo artists. It laid the groundwork for artists like Ed Sheeran (who credits it with shaping him both as an artist and a fan), James Blunt, and Adele.

During the practice sessions for White Ladder’s atmospheric pop, which was meant for a postponed 20th anniversary tour in 2022, Gray experienced a sudden surge of songwriting inspiration, often referred to as ‘a starburst’. This creative outburst, facilitated by lockdown periods, resulted in the creation of Dear Life, an elegant collection of songs that maintains the captivating melodies from its initial release while also giving his music a refined finish.

Born in Cheshire, the 56-year-old musician defies his ‘soft-spoken rock gentleman’ image with a bold spirit. Contrary to being labeled as ‘the favorite of the Chardonnay and chinos crowd’ by Rolling Stone, he has consistently embraced innovation. His latest album, Skellig, showcases six-part choral harmonies and was inspired by two rocky islands in the Atlantic.

On this new album, life guides him to a completely different place. This is the third collaboration between him and musician/producer Ben de Vries, where they expand on their usual acoustic-electronic setup by incorporating strings, horns, and woodwind instruments. There are duets with two vocalists: his daughter Florence and upcoming talent Talia Rae.

Crafted in an improvised workspace in Norfolk, this production exudes a mature and serious tone. The introductory track, “After The Harvest,” delves into the poignant theme of empty nest syndrome, symbolizing a barren tree. Other songs confront topics such as mortality and mid-life.

The album explores damaged relationships due to infidelity, and without sounding pretentious, grapples with our position in the cosmos. Gray describes it as a collection of ’emotional turmoil and resolution’.

1. “Plus & Minus,” featuring Rae, is a pop track reminiscent of 1998’s Babylon. In contrast, “Fighting Talk,” created with Florence, has a more playful vibe, as David takes jabs at his own seriousness. He sings, ‘Blast this melody, blast this song,’ expressing frustration towards the overly romantic, melodramatic composer.

2. The pop tune “Plus & Minus,” starring Rae, resembles 1998’s Babylon. On the other hand, the light-hearted “Fighting Talk,” made with Florence, showcases David making fun of his serious nature. In the lyrics, he sings, ‘Curse this melody, curse this tune,’ expressing annoyance towards the overly sentimental songwriter.

3. The upbeat pop track “Plus & Minus” featuring Rae is akin to 1998’s Babylon. In contrast, the humorous “Fighting Talk,” a collaboration with Florence, features David poking fun at his serious demeanor. He sings, ‘Blast this melody, blast this song,’ expressing exasperation towards the overly romantic, melodramatic composer.

4. “Plus & Minus” featuring Rae is a pop song that echoes 1998’s Babylon. In comparison, “Fighting Talk,” made with Florence, has a lighter feel, as David teases his serious side. He sings, ‘Damn this melody, damn this tune,’ expressing annoyance towards the overly romantic, melodramatic songwriter.

5. “Plus & Minus” featuring Rae is similar to 1998’s Babylon in terms of style. In contrast, “Fighting Talk,” made with Florence, has a more playful tone, as David takes jabs at his own seriousness. He sings, ‘Blast this melody, blast this song,’ expressing frustration towards the overly romantic, melodramatic composer.

In other places, “That Day Must Surely Come” is a melancholic song about the inevitability of death, while “Leave Taking,” which pairs a poem by American author Louise Bogan with music, showcases the diverse array of sounds Gray and de Vries are currently utilizing. The guitar melodies in this song echo those from White Ladder, while unexpected elements like brass and woodwind instruments add an element of surprise. The artist skillfully tackles heavy themes with a sense of levity. “Future Bride,” featuring lively horns reminiscent of Nigerian legend Fela Kuti, explores the possibility of a cosmic collision (or celestial union, as he perceives it) between our Milky Way galaxy and its neighbor, Andromeda. In “The Only Ones,” he sings about Earth as a ‘pale blue dot’ in the expanse of space.

In the realm of whimsical thoughts, he maintains a strong musical foundation, rarely deviating much from a radiant melody. As he puts it, the pauses caused by Covid-19-related delays provided him with more space than usual, and Dear Life finally surfaced when patience proved profitable.

 

THE WEATHER STATION: Humanhood (Fat Possum)

Verdict: Freewheeling jazz-rock

After leaving behind a flourishing film career for songwriting, Toronto-native Tamara Lindeman garnered numerous accolades following the release of her 2021 album, Ignorance, and its follow-up in 2022, How Is It That I Should Look At The Stars. Under the pseudonym The Weather Station, she emerged as a promising heir to Canadian music legends Joni Mitchell, Leonard Cohen, and Neil Young.

The clever trick of the Ignorance album, with its polished pop music notwithstanding, lies in its subtle symbolism. At first glance, it appears to be an album about romantic breakups; however, Lindeman uses heartache as a representation for broader, environmental issues. In contrast, her latest album, Humanhood, eschews such trickery: it’s a deeply introspective record penned during her mental struggles, chronicling her despair and path to recovery.

Humanhood, characterized by the free-flowing improvisations of its jazz-rock ensemble, offers a less straightforward experience compared to the meticulously structured Ignorance. Certain tracks carry a dreamy, folksy ambiance. Interspersed throughout are atmospheric interludes that momentarily halt the rhythm, mirroring the protagonist’s disjointed mental state. However, when Tamara and her supporting musicians find harmony, the outcome is nothing short of exhilarating.

She admits to becoming accustomed to feeling as though she’s either going crazy or just being lazy, according to her statements on Neon Signs. On Window, she expresses her anxiousness by packing her bags to return home. In desperation when all seems lost, she finds solace on Sewing, a song where she promises to mend herself back together. Be prepared for sparks as she brings these carefree tunes on tour.

Today sees the release of two new albums. Beginning on March 13, David Gray embarks on a tour at Portsmouth Guildhall (tickets available through Ticketmaster), while The Weather Station kick off their tour on March 6 at Chalk in Brighton (tickets via See Tickets).

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2025-01-17 01:39

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