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Phatfish (released July 2007) check out www.phatfish.net to order
It’s all about Jesus, glorifying his wonderful name, emphasising the eternal certainty of our salvation, which God the Father has sealed by the deposit of the Holy Spirit. The album starts with the humility of Jesus, setting aside his glory; and ends with his sacrifice. And the bit in the middle is about him, too. There’s so much going on here, it’s worth the traditional track by track commentary. Pouring Out An explosive start and then Lou’s voice is back in all it’s glory, perfectly in front of the mix, full of depth, warm chocolate (caramel-filled) and expressive quality. Just where it belongs. The lyric is passionate, as you’d expect, and the melody memorable. But the classic Phatfish driving groove is what gives this song even more vigour and vim. Even better, there are at least two Lou’s in the chorus. Utterly trinitarian (as you’d expect) and extensively honouring to the salvation won for us at such cost. The middle eight has some extraordinary string acrobatics, which add a fresh flavour. And the recapitulation showcases the golden tonsils themselves, almost alone. I am Yours Seeming a little like a refugee from an album by a previous incarnation of the band (on account of the raucous guitar and chugging), this song crashes in with huge energy. Then it settles down in an appealing way, as Lou explains that even though she’s really a little bit tired, she still understands that God welcomes her. Nice Amazing God This is probably the best congregational song on the album, but nevertheless we’re treated to a truly outstanding performance from Lou & Bertie in the first verse and again at the finish. The song builds wonderfully, expressing (and you might have guessed from the title) some facets of God’s character and activity which are unique, loving, surprising and mighty. Kingsway's Thank You Music Free Sheet Music Song of the Month; easy to use as a response to any number of sermons, probably. Best Thing Starting with just the merest hint of Every Breath you Take (or is it Roxanne?), this happy number has a catchy tune and a great groove. But of course it’s the marvellously inventive lyrics which are the most impressive. Well, I would say that, wouldn’t I? Nathan drafted me in to work with him and make a contribution to the writing of the words for this one. A theme of moistness continues throughout, rejoicing in the anointing, cleansing, refreshing imagery relating to the activity of the Holy Spirit. There’s judicious and subtle use of an echo and Alan Rose puts in a few bars of his characteristic marvellousness. It concludes by being strongly tempted to fade, but without yielding. The title sums it up. Who else could I run to? No, I was wrong! This is the top track. Massive strings, arguably misplaced prepositions (surely ‘To whom else could I run?’ would expose arrant pedantry, the sort up with which I should not put), plus a Job-esque heartcry from a man determined to seek God even when times are tough and the floodgates of Heaven seem closed. Declarations of Divine Lordship become slightly clouded as a mahoosively-pregnant-at-the-time Lou sings ‘you’re over all that’s in front of me, even the things that I cannot see.’ This must in some subtle (perhaps even unconscious) way be a reference to little Ella, in utero. But it’s so much more than that, too, with the Phathouse in mind, the responsibility of parenthood, church growth, serving God, ministry, etc. God’s consistency and uniqueness are hammered out on the anvil of the hooky chorus. There’s a section which makes me think of Sinéad O’Connor crying so affectingly through Nothing Compares To You (perhaps because the content resonates slightly) – even while there’s no crack in Lou's soft, breathy delivery, there’s hair-raising amounts of emotion. My favourite moment is the impressively cool attitude toward tacitity, at 3’31". The music stops momentarily, and just when it’s time for it to return, it seems that everyone’s gone for a cup of tea. Several beats later, the theme recovers (along with those impressive strings again) and it’s just magical. It’s a brilliant way to add another shower of sparks to an already excellent track. The whirr and phase of the Leslie speaker rounds it all off. I do wonder, however, if in a previous life there might have been the most colossal power solo for five minutes at the end of the track, either with Bertie or Alan (or taking it in turns, both and preferably twice each) giving us the majestic benefit of their blurring, accurate, creative, tender fingers… Oh well. I’ll have to wait for the live album version, perhaps. Holy Spirit A compact theological summation of the office and work of the third person of the trinity, in a package which makes the poetry even more memorable. This song goes so far beyond what one might call ‘demands for a zapping’, showing a depth and profoundness of expression rarely observed outside Hymns Ancient & Modern and the like. Nathan’s restraint when there are so many opportunities ripe for ‘round the kit’ fills is quite extraordinarily noteworthy. Bertie’s hefty left thumb hurls us into the middle eight with fresh impetus, and some filthy guitar power chords also add a certain something. This Year Luke’s solid, reliable presence at the bottom end is felt as a hurting world cries out for light, for hope, for safety. Major chords brighten the view considerably as Jesus is held up as the Saviour with power and authority. I couldn’t help comparing this with the one-or-two note song Great is the Darkness (note to self: compare the slightly more cheerful Great is the Lord?) and finding this song vastly more crafted and thought-provoking. This track also has what we should think of as a ‘musical interlude’ – it isn’t really a solo, but it’s certainly where one could be slotted in, should the desire for such a thing arise. The session players from Eleanor Rigby turn up again – most welcome. Rise Up Starting out with a sound that can perhaps best be described as a flatulent wasp trapped in an huge steel agricultural silo, the groove of this track sets us up for a happy, catchy number, packed with clever wordplay, internal rhymes, sympathetic emphasis and great wisdom. As I understand it, the envelope on which the first draft of the lyrics was written will be appearing on eBay sometime soon, under a ‘mistakes, unfortunate errors and careless references’ heading within the memorabilia section. But fortunately wisdom has prevailed, without destroying the wit and commitment of what remains. It’s a prophetic statement of intent to flee the evil one, to win the battle for the mind, to remain steadfast when under attack. There is the occasional hint of the trendy ‘let’s muck about with the EQ’ tendency to treat the vocal line as if Lou was phoning it in, but fortunately this idea is quickly dropped. And the last time through the chorus features a quite splendid hiccough as the band do a tacit & push on the final phrase, at about 3’17”. Come and Behold Direct, rhythmically fascinating and tuneful. The verse has the feel of a movie titles accompaniment, somehow which is interesting. There are pushes and syncopations all over the shop, and it’s a true toe-tapper. The call to worship God is as infectious as it is appropriate. If delighting in God can be likened unto a staircase, (and I think it can) then the words of this song are the bannisters, supporting the tune, which is the balustrade down which we all happily and repeatedly slide, toward the newel post of personal sanctification avoiding the finial so potently exposed in the expression 'I need a right bless-up'.* From the Rising of the Sun Now, put out of your mind any other song of a similar title or which a similar phrase (I can thing of at least three others). For this is quite different, fortunately. There are no cattle being led slowly ’cross the lea and through the meadow unto the milking parlour' here. Rather, it’s a great song about the open heart of God, welcoming all who turn in faith in the Lord Jesus. And then, nine tracks down and two and half minutes into this one as well, we get a guitar solo. Not long (eight bars), not pyrotechnically sensational, but appropriate and refreshing; Knoffler-esque in some ways. Don't imagine for one moment that I mean by this 'plucked chords', but go right ahead and let your mind wander with vivid imagery and pleasant memories of tuneful, almost clean, soaring Strat sounds and you'll be right on the money. Well done, Phatfish, we were beginning to think a solo wasn’t going to happen ever again. But you’ve delivered.
Conclusion Once again, the cover features no close ups on the musicians’ faces, but I think they more than made up for that with the Hope DVD. And this time, they’re all wearing black, which is a subtle but amusing counterpoint to the Randall & Hopkirk (Deceased) vibe of the There is a Day video. The imagery of ten thousand deckchairs across Brighton beach and the South Downs certainly isn’t particularly Biblical, but who cares? (Abraham's offspring were as unto the grains of sand by the seashore, and God owns the cattle on a thousand hills, admittedly, but neither of those facts has a lot to do with it.) It generates the idea of people having a good time, relaxed and recumbent within the beauty of nature. And there’s a slight sense of rapture about these idly flapping stripes, as if representing seats recently vacated by a people with a different focus. Or maybe it’s just a powerful, attractive image that has the benefit of being long and thin, like the fold-out lyric sheet in a CD case – oh, that’s lucky then... This disc has remained at the top of my in-car listening choices for a lot longer than many others manage, I can tell you (I was fortunate indeed to be given a pre-release copy). A superb piece of work, fashioned through pain and yet light, cheerful, inspiring, didactic, memorable, deep, punchy, characteristic, worshipful. Thank you, Phatfish! 5 LeonAndys is the top grade.
*A brief staircase glossary bannisters: upright spindals set in the edges of the treaders, supporting the handrail balustrade: this encompasses the whole 'safety & support on one or both sides of the staircase' enchilada newel post: at the end of the handrail, the lowermost upright (usually more substantial and ornate) finial: the last thing you want to see fixed to the top of the newel post as you hurtle out of control down the balustrade toward it, as hi-speed contact with this item can be guaranteed to be somewhat painful and may have significant repercussions when the glorious day dawns for you to step up and be a man, my son |
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