Reviews

Diversity in character and creativity is a means to distancing oneself from the mainstream and etching out a unique mark.  Guillemots, a quartet with each musician representing a different country – pianist and singer Fyfe Dangerfield from England, percussionist Rican Caol from Scotland, guitarist MC Lord Magrao from Brazil, and double bassist Aristazabal Hawkes from Canada – have a natural proclivity of sound infusion.  Their nuances permit a growing out of spectral formations that allow for the creation of expansive sounds and composition. Their debut LP, Through the Window Pane, showcases said dexterity with smooth adeptness and rigorous fortitude.

Through the Window Pain is a storybook of agony and joy and the all too familiar feeling of being on the “outside looking in,” or in other cases, “inside looking out.”  It is a chronicle of love, heartache, war, desire, insecurities, nostalgia, and even the acceptance of death.  Yet, the album is not a depressive tirade.  Instead, there is a sense of optimism behind each of the songs that seems to say that, despite past hardships or missed opportunities, there is much more to explore and wonder about, and things will work themselves out in the end.  Dangerfield’s vocalizations are both haunting and intoxicating as he flows from the slow, melodramatic sounds of sorrow only to let loose a burst of joyous, soulful vociferations; you can almost feel his heart bursting with affection as he reaches up to the heavens with a grin of pure ecstasy, wanting to take it all in.

Eighties pop and rock influences are visible throughout the album, as well as esoteric arena bands like Pink Floyd.  Nevertheless, through their indulgences and experiments in world music, Guillemots are, at times, able to veer off that road and pave their own path.  At times, they add lounge horns, dance grooves, and symphonic wind and string to give a new and different spin, and create deeper textures, to certain tracks that would otherwise be quite simple.  The arrangements, coupled with the diverse melting pot of sounds from the different background of each musician, have layers of extravagant imagery that cannot help but invoke strong emotions in the listener.  Often, Dangerfield’s stark vocalizations, coupled with the luminary lyrics, make you feel like you belong in a dream. 

The album culminates with the operatic “Sao Paulo,” a nearly twelve minute composition filled with magnanimous orchestrations that speaks of desperation and the possibility of hope.  It almost feels like it should be the final act of a Broadway show. 

However, as much as Guillemots have managed to forge a niche of dexterity in their short time together, at times, such as “Made-Up Love Song #43” and “Trains to Brazil,” they manage to fall back into the comfort of catchy, standard pop.  Other times, they come across forcing the issue on originality, and utilizing orchestras in rock and pop music is nothing new.

It is too early to know if Guillemots are the future in trendsetting, original pop/rock music, or if they are just another stop in the revolving door of music.  However, with their differing backgrounds, they have the necessary ingredients already in place to do something unique and special.  Until then, Through the Windowpane is a train that takes its passengers on a whirlwind, worldwide tour.  Open the window and enjoy it.