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April 2002, Boston's Weekly Dig
When the Cranes first gained mass popularity with the release of their major label debut Wings of Joy in 1991, no mention of the band was made without reference to the vocals of singer Allison Shaw. Combined with the band's striking guitar style, her unique little girl voice created a musical soundscape that stunned both the press and music lovers worldwide. On the phone for a short interview from her home in England, it's even more surprising to discover that Shaw's remarkable voice is exactly the same in standard speech. Thousands of miles away and without the help of studio effects, she still sounds like a newborn angel.
The Cranes recently returned after a five-year hiatus to release Future Songs (Instinct), an album of lush electronic based pop songs that manage to be both immediately accessible and engagingly abstract. While it may be ironic that the band's most digestible album is also the first in over ten years to be released independently, it makes perfect sense when one considers that the Cranes have rarely been properly understood. Those who lumped the band in with the "gothic" or "darkwave" movement have always missed the point; with a new release that sounds more like summer dawn than winter twilight, the Cranes are ready to be introduced to a whole new cross section of listeners.
"We never saw our music as being dark," Allison reflects. She goes on to explain that Future Songs is simply a testament to an evolution of thought and influence cultivated in the years since the previous album. Despite the long delay in recording, Allison says her ties with the band's guitarist and main songwriter made a true break-up impossible. "The fact that Jim is my brother made it difficult for us to go separate ways," she jokes. While the departure of several band members and pursuit of other interests may have kept the two from recording for several years, Allison says it was only a matter of time before they reunited to explore new musical territory.
"The Cranes have always recorded using a drum machine, but with Future Songs the electronic elements are far further emphasized, creating a less guitar oriented work than previous albums," Allison explains. She cites exposure to acts such as Boards of Canada and Four Tet as part of the reason for the transition, though the Cranes' rock roots are certainly still in evidence. Listening to the album does help one to understand why it was picked up for American licensing by Instinct, a label traditionally known for releasing electronic and rhythm based music. It's a relationship Allison has found beneficial. "It's been interesting to be on a label with such a wide range of music," she says, "I've come to appreciate many of their other artists."
Though the Cranes' sound may be lighter and more optimistic than ever before, the new album still manages to convey the same other-worldliness that has always defined them as a band. Preparing to tour the States for the first time in years, Allison is optimistic about transferring this new energy from studio to stage. "The incorporation of more electronics fits perfectly with the sequencing that has always been part of our live show," she offers. "It's still very much a Cranes performance, [but] by incorporating an equal mix of new and old material, we are able to simply just choose the songs that suit our current attitude and sound." While the band may have evolved, there is no doubt that the Cranes still sound as relevant and exciting as at the start of their career. More than 16 years later, a legacy of original and beautiful music continues.
Written by Matthew Sordillo
© Boston's Weekly Dig 2002
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