Firefly Burning - Skeleton Hill

by Adrian Janes

published: 12 / 4 / 2015

Label: Fathom Records
Format: CD

Meticulously-crafted and ethereal second album from London five-piece Firefly Burning, the first record to be produced by Talk Talk producer Tim Friese-Greene in thirteen years

Review

The production presence of Tim Friese-Green, known especially for his work with Talk Talk and more or less retired since then, might be thought to be the most significant fact about Firefly Burning’s second album. Turning it around, it seems obvious that he heard something special in this band to make him offer his services after thirteen years out of the game. They clearly take immense care over their music - the recording of this album (in a manor house in East Sussex) was actually completed in July 2013, but only now do they consider it ready for release. If they were frustrated by this delay, it isn’t betrayed by the refined performances contained here. Opener ‘Unwritten’ suggests what emerge as several characteristic traits: close, repetitive harmonies that evoke Steve Reich; subtle instrumentation (in this case, muted rhythmic gongs)’; a careful touch of wildness (James Redwood’s violin); and the pure-toned singing of Bea Hankey. It’s the yearning in Hankey’s voice on this song that just about shades the battle between being moved and mere admiration for the band’s undoubted technical abilities. Despite its Pop Groupish title, ‘We are a Bomb’ is not the implied explosion. But although it’s a little too polite overall, Jack Ross’s distorted guitar continually feeds in an energetic buzz, and the melody has some dynamic changes. The coda, where guitar, violin and Hankey’s Annie Lennox-esque cries come together, is one of the album’s most exciting moments, though frustratingly short - again there’s that sense of a band a little afraid of losing control. Along with their use of unusual instruments (notably the gamelan stalwart, the gender barung), are a couple of equally uncommon guest lyricists, both medieval poets. ‘Petrarch (Because Of You)’ flows between liquid piano and staccato bursts of piano and strings as Hankey glides above, hitting notes as high as early Kate Bush. ‘Beloved’, (and concluding track ‘Night Ocean’), adapt lyrics from the Persian Sufi poet Rumi, Hankey’s vocal curlicues suggestive of the Middle East. Like some of George Harrison’s songs, her ardour could be taken as deeply romantic or something that leaves earthly desire behind altogether: “Take me/Take me/Liberate my soul/Beloved”. Here the group harmonies beautifully mesh feeling and arrangement. There is in general a sense of space, of spareness in the band’s sound, and never more so than on the title track, where Hankey’s pure voice is exposed apart from violin and mandolin but reveals the strength to carry it off. In contrast, ‘Pioneer’ is satisfyingly more elaborate, the repetitive patterns and pauses of John Barber’s piano, the web of harmonies and Hankey's perfect hitting of some of the highest notes on the album creating their own kind of Reichian orgasm. ‘Setting Sun’ is an energetic piece of harmony and piano-driven sophisticated pop, moving towards the horizon, the end of the day, and the sight and sound of ‘Night Ocean’ : a lovely mystical lullaby, the piano and male harmonies coming in slow, soothing waves with Hankey’s voice on the crest. This may not be an album for every mood, and sometimes it feels too refined, like afternoon tea in bone china cups. But there is also a lot of excellent playing and spinetingling singing; with a greater sense of flesh and blood clothing this skeleton, Firefly Burning could really light up.

Track Listing:-

1 Unwritten
2 We Are a Bomb
3 Petrarch (Because of You)
4 Beloved
5 Fragile Friend
6 White Noise
7 Skeleton Hill
8 Pioneer
9 Setting Sun
10 Night Ocean