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The Pines is not only the finest album I’ve heard so far this year but one that I confidently expect to see on the ‘Best of 2012’ lists come December. It is quite simply that good.
Bristol based Phantom Limb have followed up their eponymous 2008 debut album with a top quality collection of twelve songs, expertly produced by Marc Ford, the former Black Crowes lead guitarist. The album was conceived in France and recorded in California and combines elements of country, gospel, blues, soul and R&B into the band’s own unique style.
There is power and passion aplenty in these songs, with expert instrumental work throughout, from organ through to lap steel. But above all there is a quite brilliant performance from Yolanda Quartey, whose emotive and impassioned vocals resonate throughout. Quartey is a supremely talented singer with a great range; at times sultry and at others majestic but always taking the emotion of the lyrics and truly bringing them to life.
The theme of escape runs through many of the songs, starting with the opening title track, which has also been released as a single. The Pines features a flight to the outdoors as a literal means of escaping heartbreak. An insistent acoustic guitar backs the vocals, although the tone is one of defiance rather than heartbreak: “Goin’ to start living for myself, start living free.”
Tumbling Down is a rich blues song that opens with a mournful bass line before the vocals kick in. A slow piano adds to the lonesome air but again there is an obvious refusal to give up; “My knees aren’t made for kneeling at your feet.” Lovely guitar and organ solos ends what is a beautifully crafted track.
Give Me A Reason also has some fine guitar work, backing vocals filled with pain and longing. “Still got that picture in a frame, and I can still hear your name”, but again the right thing to do is to get away and to look forward, not back.
I’ll Have Mercy has a gospel feel in places, a big song that allows Quartey to let rip in fine style. Much of this album is a little more restrained and polished than the band’s debut, and it generally works well, but it is nice to see a bit of the old rawness creep in here. This one will sound phenomenal live.
The Only Way slows things down a little as the acoustic guitar picks its way delicately behind the vocals, while Laugh Like You’re Mad has a similar feel and features a swirling organ part that is nicely understated. The Gravy Train then picks the tempo up once more with a pleasant song that builds to a fine ending.
Badge of Descension rises and falls with a big orchestral opening giving way to a piano solo and just a hint of slide guitar before the vocals kick in again. The chorus hints at another escape, this time from the responsibility of a break up.
The slower Hollow Eyes has an even feel as the piano and a repeated drum beat mark time. There is a haunted air to the vocals, yet there is still “pride in these withering bones” and the defiance of “I won’t feel sorry for myself”. The message here is that choosing to be alone can be the right thing to do.
Missy is a glorious alt-country sounding song that would make a great single. But behind Missy’s smile is the pain of past heartbreak and the upbeat tempo is perhaps a reflection of this façade. Harder Than Stone also has a country tinge to it and again hints that what we see is not always the full story.
The album concludes with the seven minute epic High And Dry, a lengthy track that manages not to sound overlong. The vocal performance is once more quite exceptional as Yolanda Quartey wrings every last ounce of emotion into a song that has both sadness at love lost (“Thoughtlessness hurts and selfishness more”), yet also the honesty to know that some things are simply beyond saving (“Guess I know when I’m just fooling myself”). Just beautiful.
Phantom Limb will be rightly proud of this album. They have created a very good collection of songs and have demonstrated the ability to perform them in an engaging and passionate manner. The band has always produced quite exceptional live performances and this recording shows that their undoubted quality can be transferred to the recording studio with good effect.
And that voice – it simply has to be heard to be believed.
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