English singer songwriter and the son of a
diplomat, Ed Harcourt has been releasing solo records since the year 2000, and with
‘Furnaces’ he releases perhaps his most fully realised album yet. Operating
outside of the mainstream Harcourt has developed without commercial
restrictions and has a loyal following, his music has been getting harder edged
over the years and whilst this Flood produced cracker may not soundtrack the
balmy summer days on national radio it demands your attention.
Mostly performed by Ed alone with some
contributions from other musicians the album is one of those that opens with a
short vocally assisted essentially instrumental piece, ‘Intro’. It’s elegiac.
And soothing, a contrast to much of what is to follow. ‘The World Is on Fire’
sets the scene for what follows. The drums boom in underpinning echoed brooding
vocals, fiery destruction, hopelessness, grim prophecy, the cold that follows
the fiery destruction and perspective about our place in the scheme of things.
A floaty icy synth props up the track, as fire and ice settle in as another
theme. Ed as always had a way with a sweet pop melody and cosy love song, and
that trait seems a million miles away from where he is now. ‘Loup Garou’ is a more
guitar and percussion driven song follows and mythical themes are woven into
Ed’s mindset (the Loup Garou is a French legend of a shape shifting human who
is able to turn into a wolf at will). It’s a powerful, foreboding melodious
track, classic heavy Ed Harcourt. Title track ‘Furnaces’ is a brass pinned
driving on the beat rock track, the sound is cluttered, creating a sense of
unease, even panic, a hymn to the destruction that big business brings to the
natural world.
‘Occupational Hazard’ sees Ed hovering, almost
victoriously over the destruction he leaves in the path of his life whilst
warning potential victims to keep away. It’s uncannily like a classic turn of
the century Depeche Mode track, and sparkles with it too. ‘Nothing But A Bad Trip’ is an obvious ‘English
Tom Waits’ moment that has littered Ed’s career, a comparison that is unfair to
both of these inspirational individual artists. ‘Opened my mouth, The scream
that came out was not even human, Got back on the horse, Rode away for a fix of
destruction’ is the albums lyrical content boiled down to a hard core. Some
comfort is offered in ‘You Give Me More Than Love’, as a lover is revered as a
saviour who lines the path to better days with Augustan poetry. Yet the song is
not wrapped in sugary sentiment in the way Ed has done with his sweetest love
songs in the past, there’s still a heaviness, a danger present. ‘Dionysus’
describes battles with the demon alchohol, ‘Poor Dionysus, You drank yourself
under the table again’ is a clever lyrical play linking Greek Mythology
(essentially the God of Wine) with modern day drinking issues. The song has a
soft piano melody that gets swept up but a thundery percussive orchestral swell
as the battle is essentially depicted as hopeless.
‘There Is a Light Below’ is an odd upbeat song
living above an almost drum and bass beat, with wonderful multi tracked vocals,
but the mood is still not victorious, defiant maybe, but domineering and
threatening. ‘The Last of Your Kind’ crashes in on a joyful melody, a modern
Britpop anthem, and sings of hope in the moments before the end of the world as
the last good man is left standing. Is Ed a Corbyn supporter? ‘Immoral’ though
reduces hope from a personal level. ‘I will break your spirit’ I will break
your heart, Put it back together, Then slowly pull it apart’ is offered as
final solution, ‘Got a blind date with my death, I’m not a good man, who abides
by virtue’ is the sort of fayre on offer here. It’s a great track, but short on
relief. The album end with ‘Antartica’ as the singer retreats to the barren
wasteland of ice in order to escape the misery and destruction of the world
that pains him so. It is a call for the good, a new beginning, albeit one where
withdrawing from the world into a desert of ice is the most promising solution
on offer to the worlds maladies.
So this a heavy album, weighty at every turn,
cramped with pain and fear. It’s also intricate, extremely well planned out, a crystal
vision, a carer high point. Here’s hoping Ed Harcourt is making music for us
for a much longer time to come. (Also out soon is Ed’s second collaboration
with Sophie Ellis Bettor on her second post-modern LP.)
9/10
