Croft No Five have produced a follow-up which, in terms of musical development, far outstrips expectations. You’d hardly know it was the same band. Previously centred on an amalgam of Scottish-style dance with jazz-funk backing, their sound has expanded to take in a Continental swathe of influences, from jaggy, spicy, Balkan and east European elements, both rhythmic and melodic, to Mediterranean café tunes. Ranging even further afield – a touch of sultry Orientalism, niftily spliced with jaw’s harp and fat, heavy bass – is the opening track Elephant. There are still Celtic jigs, reels and melodiousness interspersed through the mix, as in the wistful, waltz-time (albeit drum and bass backed) Cyanara and the aptly festive Party In The Ark. And after eight tracks of splendidly unclassifiable, confidently hybridised folk/world/rock/pop/dancefloor fusion, the crowning glory is the quietly inspirational closer, Passing Train, with Jonathan Urquhart guesting on spoken-word vocals.
CROFT No Five have survived the amicable though potentially devastating departures of fiddler Adam Sutherland and bassist Somhairle MacDonald to emerge with a powerful new album. Brolum’s Duncan Lyall has filled the gap left by the bass player, while Misha Somerville’s whistles and saxophone, John Somerville’s accordion and Barry Reid’s guitar cover the melody department. Drummer Paul Jennings and Lyall supply the essential rock and dance grooves under their folk melodies. The fusion of these elements is more integrated than on their debut, and their new material is stronger.
While I enjoyed the first CD I was very disappointed with this release. The first album had lots of good tunes and this album... only 1 and it was written by Martyn Bennett. This was a band that had a very bright future and with this album it seems to be all going down hill.
Nice One! Stooshie
I think 'right on' is coming at this from a bit of an obtuse view. I too really like Attention All Personnel, but this album sees the Crofts move on, & assimilate sounds & influences from all over the place, to very great effect. There's the obvious eastern touches (also now being explored by Glasgow outfit Soss & Donald Lindsay), a bit of avant-garde 'jazz', rock riffs, real trad Scottish combinations, nu-prog-rock, voice-over & the overall effect seems, to me, progression without losing the danceability they established with AAP. The playing is superb, the rhythm section excellent, the mix-up what I'd expect from a band who cite Martyn Bennett as a driving influence (although, funnily, I find their version of 'Sputnik' one of the album's weaker moments). 'Elephant' is a great opener with its driving eastern climax. 'Party In The Arc' is the band in full dance swing. And the sax on '80 Euro' feels right at home before the clashing cymbals kick in. 'Taxi For O'Neill' is another stand-out. Overall, harder to get into than AAP - but well worth the effort. Shame they've now disbanded, but hopefully The Treacherous Orchestra will see Jennings continue to expand & incorporate & display his undoubted talent & open-minded musical world-view. Nice one.
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