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Talahomi Way

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Reseña de álbum

The aural equivalent of a late spring breeze, Talahomi Way finds Sean O’Hagan and the rest of the High Llamas in a decidedly dreamy state of mind. Interludes like “Angel Connector” drift in and out softly and sweetly, making the band’s previous album Can Cladders sound downright heavy in comparison, and the lush strings and genteel brass and woodwinds on tracks such as “Wander, Jack, Wander” and “To the Abbey” feel like they have as much in common with Burt Bacharach and Nelson Riddle as they do with Brian Wilson. Interspersed with these reveries are fine examples of O’Hagan's pop-craft: “Berry Adams” opens the album with an alluring sparkle; “Take My Hand” captures seaside romance in two-and-a-half minutes; “Talahomi Way” reconfigures the Llamas' Stereolab-ish side into a serene travelogue; and “Fly Baby Fly” flirts with Baroque pop and soft rock. As with almost all High Llamas albums, Talahomi Way's details can speak louder than its actual songs, but this isn’t a criticism: here, O’Hagan and crew use those details to make an album that is equally pastoral and meticulous, and listening to it is like visiting a perfectly arranged topiary garden.

Reseñas de usuarios

Another Amazing Album from O

I downloaded this album from iTunes the day it was released a couple of weeks back, and I wanted to give it some time before I wrote something on Talahomi Way. I expect a lot from Sean O'Hagan, and he does not disappoint. The songs feel like each one belongs on this album, but each one is unique, which is more than the vast majority of musicians can claim these days. Who else but O'Hagan can incoprorate a flute, banjo and organ (among other instruments, including his excellent voice, which provides a certain tension in the music) and create such beautiful, yet catchy, music? Fans of the Llamas will recognize the nautical and tropical references that have been common in recent albums. His lyrics, as usual, almost always leave me clueless as to their meaning, which is mildly annoying insofar as I really want to know what the songs' lyrics mean and why he wrote them. Then again, it's probably none of my business.

Two other points: Firstly, I recommend listening to this and all Llamas albums with and without headphones. Headphones provide a depth of musical intricateness and texture that is easily missed without them. O'Hagan and his crew obviously know how to play music, and it is a real treat to hear some of the finer points in their playing. Secondly, if you are new to the High Llamas, this is as good an album as any to begin what will be an amazing listening experience. In fact, I would argue that it is the ideal way for a newbie to listen to the Llamas, which is contrary to what I would recommend for just about any other artist.

It's been a while since we've heard from the High Llamas. Talahomi Way has made the wait more than worth it.

Spoon This Album

DAMMIT! There’s so much good music coming out right now! I just appreciate the time taken to place these violins and tinny little synths to make me chill so hard I fall through the bottom of the couch this weekend. Don’t sleep on this. Buy it, put it on, and maybe take the greatest nap you’ve ever taken or wake up feeling smarter and take one more step towards only talking about the things you like this year. This is the medicine.

High Llamas best in a while. JUST GET IT

Just go ahead and download this if you are already a fan of the HL's or just love gorgeous, chill music. Beautiful stuff.


Se formó en: 1991 en London, England

Género: Pop

Años de actividad: '90s, '00s, '10s

Although the High Llamas are nominally a group, they're pretty much the brainchild of singer and guitarist Sean O'Hagan. O'Hagan did some time in the London-by-way-of-Dublin band Microdisney, in which he was the songwriting partner of Cathal Coughlan. After Microdisney split in 1988 (Coughlan forming Fatima Mansions), O'Hagan released a couple of import-only solo albums before forming the High Llamas. The Llamas issued their debut, Gideon Gaye, in 1994 to high praise in the British press; it was...
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