Emily Breeze is a cult heroine of Bristol’s underground music scene whose influence ranges from Vintage Exotica, Father John Misty, Pulp, David Lynch soundtracks and all the glorious trash and terror of 21st century life. Her great uncle was legendary Irish rebel, writer (and drinker) Brendan Behan so her gift for storytelling might well be hereditary. Indeed, nonother than The Sunday Times labelled her “the lovechild of P.J Harvey and Johnny Cash.” Emily releases her latest album `Rats In Paradise` this month whose title comes from a lyric in a song by one of the singer`s formative influences, The Birthday Party.
The album opens with the delightfully expansive `Romance Is Dead` which almost shimmers, a kind of sardonic skewered observation on the pitfalls of modern relationships and dating, an absorbing glittering retro offering. I read that `Fun` is about the tendency to always put pleasure before business. It has some superb fuzzy guitar riffs, pounding drums and a wavering synth tone with lyrics that are almost screamed or spat out with a restrained ferocity at times.
`Dating A Model came from a conversation that the artist had with someone who was talking about their new girlfriend. It has a marvellously dreamy, illusory texture where what is shared lyrically is minimal but so bitingly potent. There hopefully comes point in life when one has enough wealth to not be beholden to anybody and `Forever Money` is an almost contemplation on this situation. A thoughtful reflective piece on times passed with a slight nod to a desired future.
`Yesterday’s Parties` is a kind of sweeping steam of consciousness, an inner monologue shared over a rolling rhythmic soundscape with a wonderfully contained guitar riff in the latter section. Adolescent discoveries and experiences are at the heart of the introspective rhythmic `1997`.
`Anatomy` rolls along with a grimy post rock vibe and is a declaration on how the narrator could shape the protagonist`s life both spiritually and sensually if permitted, an assertion which borders almost on obsession. There`s an all embracing soundscape to `The Beatniks` which possibly relates to becoming bored and tired of the excesses of living life to the full and wanting to try staying in for a change.
`We Were Lovers` is a spoken word contemplation of a relationship from its early passion to drifting apart and now to a reminiscence of its loss. A vast organ sound leads us into the sprawling `Graceland`. A wonderfully grandiose opus that really grows in depth, prominence, and volume as it evolves and expands. `Graceland` may be a metaphor for an inspirational dream, a life ambition or something that we all thrive for to ensure our lives have meaning, purpose and reason. A stunning composition to close out on.
`Rats In Paradise` is brought to life with the support of some gifted musicians with Rob Norbury (lead guitar), Helen Stanley (keys/synth), George Caveney (bass) and Andy Sutor (drums). It has a quite enticingly unique musical style with a poetic lyrical panache that addresses life`s imperfections with numbers that are at times meditative, brooding, sarcastic, emotional, extravagant, and delightfully thought provoking.
`Rats In Paradise` is stylish, sophisticated, and elegant and possibly Emily Breeze`s best album to date.
As the late Bill Shankly said “form is temporary, class is permanent”
Rating 9/10
