Label: V2 Music

Release Date: Jan. 27, 2004

Website: www.elbow.co.uk

Elbow - Cast of Thousands
Matthew Ralph

With all the hype and success already generated from its release abroad, another praiseworthy review of Elbow's sophomore effort "Cast of Thousand" should come as no surprise. Music downloaders and those anxious enough to purchase the import had a headstart on this one, giving it enough to praise to make those of us less than thrilled with the band's debut much more anxious than we'd otherwise have been when this one showed up in the padded envelope.

With a sound as big as the title suggests, this record pronounces its greatness early on with "Ribcage". With a few beeps and the blissful voice of Guy Garvey, the song starts off small, but quickly gives way to a rich drum sound that carries the song in and out of fragmented pieces of piano, a full-blown gospel choir and a host of other guitar effects and layers. From the time that first line of "let the sun inside" comes in with the pounding drum, it is as if the record is making a promise — if you came empty handed you'll be full when you are finished.

"Fallen Angel" doesn't waste any time building on the layers of noise with a fuzzed out guitar and Garvey's earnest voice reaching for the clouds asking the listener to "choose your favorite and put your blues on cruise control". And cruise is pretty much what "Fugitive Motel" and "Snooks (Progress Report) do, picking you up with the piano and chorus of gospel singers and orchestration and leading you down a windy yet soothing path. "Switching Off" continues to drift in far away territory with brooding organ and Garvey captivating with the repeating line, "you're the only sense, the world has ever made". If you haven't held three fingers up to each cheek now and opened your mouth, then clearly you've missed something. The rhythm section steals the show in "Not A Job" with its smooth bass lines and matching beat that if you crank up the volume and take time to listen to are a thing of beauty.

And it's special moments like this and others where you find yourself replaying a song just to hear that oh so smooth bass line one more time that make this record the gem that so many have already pronounced it. There's the build-up in "Whisper Grass", the drum sound on "Ribcage", that wash of voices from the London Symphony Choir in "Grace Under Pressure", the soaring chorus and anthemic orchestration in "Lay Down Your Cross", or the wrenching vocals in "Switching Off". The list goes on and on and with each listen I find another layer, another piece of the puzzle I peel off, which only reveals another. Or should I say another cast among the thousands that lay buried in this treasure trove.

posted [02.07.04]

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