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1997, Scene
It's amazing what a little rest and relaxation can do for you every now and again. Case in point is the Portsmouth, England, quartet, the Cranes, who, after taking a much-deserved breather last year to regroup both mentally and physically, have responded with an album so complete, it may well bring them the kind of success and acclaim Stateside that they've long enjoyed in the U.K. and Europe.
Led by the brother/sister tandem of guitarist Jim and vocalist/guitarist Alison Shaw, the Cranes have been an enduring favorite of the Manchester scene, having outlasted the likes of press darlings the Stone Roses and Happy Mondays. Their potent blend of lush, melodic and often frightening dreamscapes and nightmares (courtesy of Alison), countered with cacophonous, churning guitars and swirling rhythms, have done well to separate them from comparisons to Cocteau Twins and Mazzy Star over the course of their three previous albums.
Following a six-month hiatus which saw Alison travel across North America and guitarist Matt Cope leave the band (replaced by Parisian percussionist Manu, with Jim switching to guitar), the Cranes reconvened with fully charged batteries and a fresh perspective.
POPULATION FOUR was recorded in a converted barn studio in Sussex, with producer Mark Freegard (Breeders, Lush) at the helm --marking the first time the band had used an outside ear in the studio. Capturing a live feel to complement the new colors and imagery accumulated during their break, the Cranes have realized perhaps their most accomplished effort to date: an 11-song, 40-minute journey full of fragile, beautiful soundscapes and haunting, ambient pop-rock.
The dreamy "Tangled" opens the album in charming fashion, but it's the distorted guitar crunch of "Fourteen" that makes the first dramatic impression, Jim's jagged chords forming the perfect contrast for Alison's innocent, almost child-like vocals.
"Breeze" offers compelling rhythmic shifts and percussive accents, as Alison enthusiastically weaves another enchanting tale resplendent in vivid imagery. The track builds to a noisy, garage-rock climax before settling back into its transient groove.
"Can't Get Free" is easily among Alison's most assertive vocals, coupled with determined guitars and a hyperactive beat. The mysterious "Stalk" features a strong vocal lead from Jim against a strident acoustic guitar backing, building to a climactic finish as Alison's well-placed background vox drift in and out of the song's consciousness.
The spare, sparse melancholia of "Sweet Unknown" should put the Mazzy references to bed once and for all. As Alison's meandering vocal wafts about an intriguing acoustic guitar bed, it becomes clear that Mazzy have never been this focused nor have they ever approached anything this intensely mellow.
Where the Cranes thrive is their innate ability to weave happiness and despair into one, utilizing the occasional chainsaw rhythm and chillingly dark subtext to add textural variety. The contrasting elements are best detected in the rhythmic backbone of the songs, where the Cranes shift seamlessly between the upbeat and the subdued, often within the same song structure.
"Angel Bell" incorporates a subtly bluesy bent into its quirky, eerily discordant mix, while "Brazil" perhaps best exemplifies the infusion of color that Alison's travels have brought to the sound, evidenced by the distinctly Latin rhythm that drives the song.
"Let Go" brings a certain sense of urgency to the mix, its chaotic, dramatic chorus making for one of POPULATION FOUR's most memorable moments. Similarly, album-closer "To Be" builds to a frenetic peak a la the Beatles' SGT. PEPPER gem "A Day In The Life."
At various points, the Cranes approach the intensity of a Trent Reznor; at others, the moody melodicism of Tori Amos. It's a delightful combination that, unfortunately, may still be too foreign for these shores, but one that's definitely worth a solid go. Recommended if you're into bands like Chimera and Chainsuck, the Cranes' POPULATION FOUR offers the perfect soundtrack for the next time you want to take a trip without leaving your room.
Reviewed by Steven Batten
© Scene 1997
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