Fionnbarr Byrne and his regular collaborator Emma Capponi have played with Edinburgh’s Meursault for several years. At the album launch for the release of Meursault’s self-titled album last year, they played as the support act, and I commented at the time that, on the basis of their set, this album would be a fine record.
They had just released the track ‘Winter‘ – and I waited patiently, and then impatiently, for news of the album. People close to them said they had heard it, but it seemed an agonisingly long wait. However, it’s been absolutely worth a year’s wait.
If you haven’t already started playing the album (priorities, godammit!) this may be music born out of folk traditions (definitely plural), but there’s so many going on here. Heck, the closing ‘Elevator Romantic‘ has quite a strong jazz influence, but in a way that suggests a modern day John Martyn rather than *cough* elevator jazz. It might be incongruous that the lyrics speak of ‘Should I romance you in a certain way /Cocaine, cars, ODs in dive bars…’ yet the contrasts compliment each other rather well.
Very different though is the two part ‘Call Me,’ which has echoes of what might sound like a primary school call and response game, but haunting; in a very pleasant but not bland way. It’s now like greeting an old friend, but I have to say that ‘Winter‘ has certainly lost none of its charm over the year. Songs in 3/4 time may not be all that common but it’s very effective and a perfect example of how this album explores different styles. Surely this could make the most cynical heart melt, if not the heart’s wrecked beyond repair. The song-writing is very strong across the whole album, but it’s also about the way that this is presented. Messrs Byrne and Capponi have voices that blend together well, yet the instrumentation takes this to a whole new place. As demonstrated live, their use of atmospheric electronics adds a pastoral elegance to the recorded work.
This is one of the most beautiful records I have heard this year. A record to lose and find yourself in, over and over again, as you pick out new aspects that you hadn’t heard before. And to be enjoyed, obviously.
…and finally: whilst it’s clear that they played a very important part in the making of the Meursault album, it’s not simply an offshoot. In the best possible way (and I mean this as a compliment to all concerned), it doesn’t particularly sound much like a Meursault album, either. Find the time to sit down and listen, and listen well…
