If the mentioning of the band Elbow brings a grimace to your face in addled remembrance of their debut album, "Asleep In The Back," it is time to wipe that memory slate clear. Critics, for the most part, seemed to appreciate the first effort of the anatomically-named Manchester band. But many in the general public had little fondness for Elbow's brooding dreariness, which drew it comparisons, and rightly so, to fellow English rock band, The Doves.
But it's time to forget those unsavory aspects of "Asleep In The Back," because the sophomore effort from Elbow is something fantastic. Released last summer in England, "Cast of Thousands" only hit American shores early this year. Rave reviews from across the pond preceded its arrival in the states (NME, Britain's premier music tabloid not often given to hyperbole, called it "a classic, perhaps"), but the album lives up to everything that's been said.
The major change between "Cast of Thousands" and "Asleep In The Back" is mainly in spirit. The musical quality of the band has obviously improved with experience, as "Cast of Thousands" seems a more tight, controlled album than "Asleep In The Back." But with Guy Garvey at the helm, the music itself is stylistically similar, with Garvey's strangely sweet voice pulling all the songs along. But "Cast of Thousands" is much brighter in its lyrics -- perhaps reveling in life where "Asleep In The Back" moped hopelessly.
At this point comparisons to the Doves and Coldplay should be dropped (although like Coldplay's ubiquitous support for making trade fair, Elbow also does play the charity card, publicly supporting Mines Advisory Group). Although not as well known perhaps, Elbow seems to musically exceed both better-established groups, and "Cast of Thousands" oozes lyrical brilliance, even if it is not often adventurous, perhaps its one downfall.
The album commences with one of the best songs on "Cast of Thousands." "Ribcage" is a song brimming with light and brilliant lyrics that draw fond memories of the uncontrollable brightness and sun-soaked tunes of The Polyphonic Spree. With lines like "I want to explode/To pull my ribs apart/And let the sun inside" and "When the sunshine/Throwin' me a lifeline/Finds its way into my room/All I need is you," a comparison to "Asleep In The Back" seems almost ludicrous.
What's even more brilliant about the opening track is the use of the London Community Gospel Choir as the background singers. Sometimes, the use of gospel (or background singers in general) doesn't really work in rock, often sounding derivative or contrived. But Elbow's gospel works like that of Spiritualized (a comparison to which, I assure you, is never a bad thing). It seems natural and smooth, and flows perfectly with the mood of the song. The gospel only makes Garvey's voice sweeter and the lyrics brighter.
The title of the album actually comes from the fact that Elbow recorded the crowd at their Glastonbury performance (thus a veritable "cast of thousands") singing along, and used this as the chorus to the song, "Grace Under Pressure." The whole song consists of a total of five beautifully concise lines -- and this is all that is needed. The smart, fast-beating drumming of Craig Potter sets the right pace for the song, and Garvey's voice seems to make the whole song float on air. Hearing all of Glastonbury chime, "We still believe in love/So f*ck you" might be the strangest affirmation of life you'll hear, but believe in its brilliance. It's nothing short of numbing.
"Not a Job," a single from the album, is equally beautiful, if not quite as grand. The rollicking guitar and slow snare, with the later addition of chimes, carry the song along as Garvey switches between solemnly singing the verses and forcefully pushing the chorus. The change of lyrical tempo in the middle of the song, without upsetting the continued rhythm of the percussion, highlights Elbow's musical skill. Although more of a downer than other songs on the album, this doesn't detract from its better qualities.
Additionally, "Fugitive Motel" is a love lullaby that cannot be beaten. With a chorus that reads, "Blow you a kiss/It should reach you tomorrow/It flies from the other side of the world," the song shows Garvey's strength for unassuming love songs. The sweetness is never syrupy, but strangely sincere, even with the "ooooooh"s in the background.
From the cover of "Cast of Thousands" peer out two expressionless soap stone figures (whose names are actually Elle and Bo, according to the band). Although they each have two big eyes for holes, they have no mouths. One could guess that they haven't been listening to the album they are the emblems for. True, they don't have ears either, but if they did, they would probably be smiling. It's impossible not to when listening to such a fantastic album.
