Blue States first took shape
in 1997 when Andy Dragazis and a couple of mates started writing music
together. It was not however until Andy relocated to Brighton that things
really started taking off for his project, with the then new label Memphis
Industries releasing his first EP in 1998. Followed four more between 1998
and 1999, including the seminal My Girl and Walkabout. With
these releases, Dragazis was beginning to gain a reputation on the music
circuit, and his first album, Nothing Changes Under The Sun, released
a year later, only confirmed the talent of the man.
Nearly two years after Nothing
Changes Under The Sun hit the shelves, Blue States return as a full
six piece band, complete with a full time vocalist, a record deal with
XL Recordings, and a second album. Far from turning his back on the delicate
ambiences of his first album, Dragazis has developed a more mature and
diverse version of the soundscapes explored on the first Blue States album.
On top of the cinematic instrumentals moments that paved Nothing…,
Man
Mountain also features the vocal talents of new Blue States collaborator
Tahita “Ty” Bulmer on no less than five tracks. Born in the UK, although
she grew up in Europe and the US, Tahita and Andy met in Brighton and hit
it off straight away. The first writing session resulted in the beautiful
Only
Today, which combines Dragazis’s Morricone-esque atmospherics with
the slight soul/jazz touch of Bulmer’s bittersweet vocals. If vocal elements
are not new to Blue States, Bulmer’s presence indicates however a departure
from the previous album. The presence of four other musicians impacts equally
on the fragile sonic balance achieved on the first album.
Nothing Changes
Under The Sun was intense partly due to Dragazis playing most of the
instruments himself, but it sometimes lacked the live feeling that some
of the bands who have emerged since then have achieved.
Metro Sound,
the opening number and first excerpt of the album, makes the transition
between old and new Blue States by remaining close to Arion or Golden
Touch, but progressively, Man Mountain asserts its own personality.
If What We’ve Won, which follows, is as reminiscent of the Cocteau
Twins as Spit & Soar was, it is somewhat more ambitious,
with the melody slowly rising to the magnificent chorus in a swirl or guitars.
Later on, Season Song provides the most intense and impressive moment
of this record. Recorded with a choir of East London and Essex school children,
Season
Song is in essence close to 4 Hero’s Les Fleur and could prove
to become the band’s best-known track to date.
This album was also for
Dragazis the opportunity to arrange strings for the first time, and Man
Mountain has discreet orchestral touches all the way through, giving
his cinematic approach a bolder feel than in the past. Tracks such as Metro
Sound, Bare Bones, Doublespeak or Halfway Highway
see Blue States integrating strings with their music to perfection, increasing
the evocative power of Dragazis’s composition dramatically.
Despite the major changes
experienced in the band’s structure, the music remains a touching an effective
as ever. The fine melodies crafted by Andy Dragazis benefit the vocal imputs
of Tahita Bulmer, while the band contributes to expand Blue States’s effortless
ambiences. Man Mountain will be the soundtrack of the autumn.
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