All change for the British progressive stalwarts
A reassuring presence on the British progressive scene these last thirteen years, Mostly Autumn are ringing in the changes for their nineteenth album. Firstly is the addition of new lead vocalist Olivia Sparnenn after the retirement of original singer Heather Findlay. With no disrespect to Findlay, Sparnenn's ethereal yet strong vocals have revived this album from diving headfirst into complacency. The new sound may not be far removed from their comfort zone, but still packs a punch when it wants to.
'For All We Shared' infuses Celtic inspired harmonies with wistful folkish charm and a catchy chorus. 'Violet Skies' is as close to a single as it gets, with straightforward soft female vocals and a semi-acoustic feel. There's more of the same on 'Back To Life', but without the single potential. It's so low-key that it just fails to inspire any feelings beyond a general agreement that it's "nice".
'Deep In Borrowdale' possesses guitar riffs that are more Page and Plant than Gilmour and Waters, and it's a welcome change. It's a heavier version of promises hinted at in 'For All We Shared', perhaps inspired by Uriah Heep's latest offerings. The guitar work is still slow and echo-drenched but blends into the whole production to create a huge sound. Continuing the heavy rock attitude, you can admire the sentiment of 'Something Better' although probably not the historical references and dodgy verses. And if anyone knows what the curious squeaking background beat on the optimistic 'Hold The Sun' is, please don't let me know.
Thank goodness the title track is so darn good. As atmospheric and epic in scale as you'd expect, but a little slower and more considered. There's a deceptively solid drumbeat behind it all that stops it getting too sentimental and combined with the middle eight keyboard work brings to mind 'The Wall'/'The Final Cut' era Pink Floyd (sirens and all). The spoken interlude describing a soldier's daily life is admirable but does nothing to compliment the music. What's most disappointing about 'Go Well...' as an album; everything about it still suggests that they'd be happier as a Pink Floyd tribute act.
It's not 'Go Well...' that best encapsulates the futility and sadness of war, and the fragile optimism that follows. That honour goes to the delicately beautiful anthem 'And When The War Is Over...' arguably the highlight of the whole album and a stunning close to this collection.
This promises to be Mostly Autumn's most commercial offering yet, if slightly shy of being their best album. Stylistically it's incredibly diverse to the point of indecision over its true direction, but somehow it works for them. A fantastic addition to any folk/prog/rock collection, and a great introduction to anyone who isn't bothered by their more 'ambient' moments.