The High Llamas release their ninth studio album in April on Drag City Records. You may not consider this to be a cause for celebration or even consider it worth mentioning. After all, Sean O Hagan and his band have been consistently releasing records every three years or so for 19 years now. These fantastic records have usually been unfairly pigeon holed into the bottom drawer of music criticism labelled ‘B**** B*** Pastiche’. (I am determined to get through this review without mentioning them directly).
Their reviews rarely seem to mention the crisp electronica that runs through Cold And Bouncy (1998), the 60s soul twangs of Can Cladders (2007), the neo-classical feel of Beet, Maize & Corn (2003) or the tropicalia of my personal favourite, Snowbug (1999). I believe that Sean and the band have created a sound of their own: gorgeous nylon stringed guitar motifs with wonderful strings; a multi-instrumental approach that encompasses woodwind and brass, all underpinned with Sean’s unique vocals and idiosyncratic lyrics. A more appropriate list of influences would probably include Steely Dan, Morricone, Caetano Veloso, Laura Nyro, Four Tet, Bach and Robert Wyatt.
So ‘Talhomi Way’ arrives and yes, be assured, it sounds like The High Llamas. The wonderful opener Berry Adams glides in on aching strings and ever so subtle harmonies that weave their way through a melancholic tale of a character living ‘just a daydream away’. The track’s electronic coda adds a different dimension to what will surely be recognised as one of The Llamas best ever songs. The overall feel of ‘Talhomi..’ is one of sunshine, sea air, a stiff coastal breeze. The album is tinged with latin rhythms, none more so than on the frisky bossanova of Take My Hand. “Take my hand and run it through the sand…ocean views and white weather boards… smell the sea, it’s over the dunes”. It sounds as though Sean has been overdosing on sea air during the making of this record.
Melodically this album is as stunning as we’ve come to expect from The High Llamas. They take their time to work their charms, but once they do, you just want to keep coming back to them over and over again. The string arrangements are utterly sublime. It is clearly apparent that so much love, care and attention to detail goes into the recording process. I want to use the words ‘artisan’ or ‘craftsman’ as that is how this album feels to me; something that has been laboured over. So, Ring Of Gold is another highlight with a gorgeous flute line running through it. Fly, Baby, Fly updates the 60s soul pop sound captured so well on their last album and To The Abbey has possibly Sean’s finest ever arrangement. The strings soar and dive like a swallow and a crazy xylophone hammers its way through the whole thing. It could come from a Disney soundtrack. It’s just one of many great moments.
The playful side of the band is still apparent. Brief electronic sketches connect the tracks. In the wrong hands this could become irritating, it seems somehow such an integral part of what The Llamas do. I wonder how long the band can continue making these fantastic records. If you haven’t fallen under their charms by now, it’s unlikely this record will change your opinion of them. However, if by some bizarre mishap you haven’t had the opportunity to discover them, start with ‘Talahomi Way’. It’s as good a place as any to start. Another amazing High Llamas record.
Listen to Fly, Baby, Fly below:
The High Llamas have inadvertently soundtracked the last few weeks initially encouraged by my daughter’s constant demands to play “Checking In, Checking Out” at full whack in the car.
You’re right about the slow burn of their records. Often dismissed (by me) as chronic Beach Boy-ers but once they get a grip it’s a devastatingly good sensation.
Very good overview and critique………but as often the case with Sean ,repeated plays of his music, slowly but surely reveal the real genius of his music,Beach Boys influences/latin american/Steely Dan/Robert Wyatt etc…………Strings/Horns/String guitar/Carol Kay bass lines/it’s all there…………………………………………………………………………………………………………
I personally think The Llamas are even more significant now in these times…
I think his amazing journey through for example… Hawaii/Gideon Gaye then Cold n Bouncy/Snowbug/Buzzle Bee…………….. followed by
the remarkable Beet Maize and Corn…. is one of a classic pop composer …………………Can Cladders seems
a slightly lesser affair ………..BUT my initial and now deeper reactions to Talahomi Way are ……Sean’s now ..evenmore…. the most relevant pop mastersmith of the last 16 years….. as time goes by this re-enforces itself more and more
BrianWilson/Stevie Wonder/Paul Macca/Burt Baccarach/Jim Webb/Elvis Costello/etc…………….Commercially …yes they win hands down……….BUT ….Sean is up there with these great composers.Critically acclaimed …..well maybe by the few………his original compositions show no sign of waning…..only time will …and in this case does tell
BK
Thanks for the comments, Brent I agree with you totally…Matt – I must try Checkin In Checkin Out with the girls, they are usually a good indicator.. on a side note, just won a mint ‘Gideon Gaye’ vinyl on ebay…. happy days…
Hello from Spain!
Good review
Just got in touch with the High Llamas music because I´ve always been reluctant to listening bands that are labeled as “Beach Boys-esque” (never rely on the media descriptions, I know!). Found a link for Talahomi Way the other day and it´s been two weeks listening to this wonderful band over and over. It´s great to see that there´s still musicians out there that do not write songs to be listened twice. Talahomi Way is a very dynamic record that grows with every listen and that forces you to be patient and take time to just listen, which is something -may I repeat- very hard to find these days.
So far it´s been my favourite record of 2011.
I´m so happy about my new little finding haha..
Thanks you for this excellent review and thank you for not mentioning that otherwise wonderful band from California! I cannot wait to get it.
It’s such a great feeling and a validation of sorts to find that there are devotees of the High Llamas out there. You do exist. It can feel like ploughing a lone furrow at times. Anyway, to Talahomi Way, 4 years after the slight but ultimately rewarding Can Cladders. In fact Can Cladders contained 3 of my favourite llamas songs (sailing bells, dorothy ashby and rollin’) and repeated listens paid dividends. When i first put on Talahomi Way (on my 3rd listen now), berry adams provided that familiar sense of happy/sad/wistful beauty. I believe that cretin bobby gillespie coined the term melancholic euphoria when describing the genius of Brian Wilson. It’s a good term amd one which I always think of when listening to the llamas. Anyway, the album perhaps doesn’t consistently live up to that early promise although there are other standouts – the title track will not leave my head. So maybe not up there with Snowbug and Beet, Maize and Corn, but c’mon whaddya want? Excellent website by the way. (I’m on raateyourmusic as theblackmeat)
Thanks for all your comments. The Llamas do indeed RULE.
Nice to find a review from someone who actually ‘gets’ The High llamas. I just read a few and, sadly, most folk just don’t understand. Hopefully, Sean O’Hagen will gain the recognition he deserves one day. Truly sublime music.