Merseyside folk rockers, The Coral return with Butterfly House, their latest album, which was released on the 12th July 2010. This, their 5th album to date follows the success of 2002’s Mercury Prize nominated debut album and a UK number one in the albums chart with 2003’s Magic and Medicine.
This new album, Butterfly House is possibly as good as any of its predecessors. It may now be the group's 5th album, but it sounds as fresh and vibrant as any debut release. Beautiful acoustic instruments, psychedelic guitar melodies, brilliant drumming and warm, gentle vocals make this a definite summer sound track and must certainly place it on the short list for the best albums of the year so far.
Produced by John Leckie, this album is a laid back symphony of musical brilliance and gentle charm. Experimental and creative, Butterfly House is a well polished demonstration that simple guitar music still has a bright future.
More Than A Lover is a harmony of deep sounding verses and bright, upbeat choruses. Everything on the track collides brilliantly. It is 1960’s folk rock for the modern era. Typified by the backing vocals which lift James Skelly’s awesome vocals brilliantly over the varied sounds that the instruments produce.
Roving Jewel is another demonstration of 1960’s psychedelic rock, the lead and rhythm guitars contrast beautifully and create an upbeat tempo while Nick Power’s organ creates the 60’s folk sound which makes this group that bit different and special. The vocals are again top notch and everything is kept in free flow by the excellent drumming from Ian Skelly.
Walking In The Winter is an airy, beautiful track, every instrument is in perfect harmony with the other and the lyrics and vocals are warm and care free. The gentle backing vocals and tempo changes show diversity and shift the tracks direction ever so slightly throughout what is a harmonious, wonderful track.
Sandhills is a gentle swaying song. The simple drum beats and shifts in tempo that they create are of the highest caliber and mould this track brilliantly as the rhythm guitar picks up the beat wonderfully and the bass of Paul Duffy comes to the front of the track in places and creates a lovely warm, deep sound, completing the rhythm section wonderfully.
Butterfly House, the album’s title track is possibly the best track on the album. Psychedelic magnificence, there are touches of many, many great acts of the 60’s and 70’s. The gentle, high pitch guitar pieces are sublime and again the drumming fantastic. The sampling which overlays the track in places adds depth to the sound, which changes and grows in depth layer by layer throughout, until it crashes into a section of electric guitar solos which end the track on a magnificent high.
Green Is The Colour is probably the simplest track on the album, simple vocals, simple lyrics and magnificent, simple melodies. Tempo and depth changes throughout shift the sound from soft melodies to deep, brooding harmonies, but do not let the simple nature fool you. This track is as well placed on this fantastic album as any other.
Falling All Around You is a gentle, swaying track, the gentlest of drums and warm plucked guitar strings provide a deliciously gentle melody for the vocals to overlay. James Skelly’s voice becomes a sweet, soft croon as this track melts your heart. It is almost a lullaby but it certainly will not sing you to sleep. Instead it will tantalize your senses.
Two Faces is a fast paced demonstration of guitar playing brilliance. The qualities on show from the two guitar players are subtle, but listen carefully and you soon appreciate the variation on show. This track has a real feel good factor to it. It is like a fresh summer breeze. Nick Powers keys back up the guitars brilliantly and the drumming is once again top notch.
She’s Comin’ Around is another track built around the brilliantly tight drum kit and the lovely warm rhythm from the bass. The 2 guitars again work their magic and the keys add a real 60’s feel to the ambience. Up and down and all over the place, the track is a well organized demonstration of variation; everything from deep riffs through to psychedelic jamming at the end creates a diverse medley of everything that is good about this group.
1000 Years is a track built upon a simple plodding drum beat, steady guitar rhythm and flowing, soft vocals. The midway break for the lovely distorted guitar solo breaks up the pattern and shows the applaud able experimentation from this group, who alter and adapt the familiar 60’s folk sounds which they base their music upon, just enough to make the sound their own and bring it right up to date.
Coney Island begins with eerie keys and a sample of howling winds. Jangles and riffs, distorted guitar solos and strange sampling throughout, mystify, confuse and compel. This truly is a mind bending track all somehow kept together with the once more tight and reliable percussion.
North Parade is the final track on the album, lovely warm bass and high pitched octaving guitar sections create a fantastic base for the rest of the instruments to play over and allow the vocals to again excel with lots of help from the quality backing. The high guitar section and heavy drumming mid way picks the track up a level and sets the tone for the ending which is an amazing section of warm, up front bass, high, scratchy guitar strings and thumping drums, before the guitar explodes into a psychedelic frenzy of eerie riffs that would make Jimmy Page’s ears prick up. What a way to end a superb album.
This album is a fantastic display of diversity, simplicity and talent. It is one of the best albums that I have listened to this year and showcases The Coral’s immense talent and their ability to continually make great albums. Every track on the album deserves its place there and it is difficult to pick any as stand out’s, such is the quality throughout the entire record.
Stereoboard Rating 10/10.
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