Mew - And the Glass Handed Kites.

------------- * Background info* ---------------

Singer Jonas is quoted as saying, "Each song deals with different aspects of life and fear, Sometimes it hits me that everything we do is a distraction from the fact that we will end up suffering and dying eventually"

Thinking back, I can't remember how I first discovered Mew. Most likely it was through my usual routine of trawling through the hundreds of album recommendations on Amazon. I'm not proud to say I download a lot of my music (I buy more now than I did before I used to download) but it's how I discover new bands and as I'm a quite critical listener, I always feel the need to give albums a 'trial run' whereby I listen to the album through headphones at a decent volume, at least 3 times before reaching a conclusion. Then if the response is positive, I'll go and buy the album. With Mew - And the Glass Handed Kites, one listen was all it took.

When looking back at Mew's previous releases, I was quite shocked to find out that this is the 4th album they have released. Mainly as I'd never heard, nor heard OF them before. However it seems Mew have only very recently achieved the recognition they deserve. Hailing from Denmark Mew had a tough time breaking into the music industry, finally getting snapped up by Sony/BMG, but not before choosing to scrap plans to release their third album (other than a limited release in Sweden!?) which they planned to release on their own label. After getting signed this was decided against, and they proceeded to write and release 'Frengers' the 3rd album, and the one which made them. This however is the follow up to that, one which I've chosen to review today '…And the Glass Handed Kites'

------------- * Mew's sound* ---------------

Mew are an extremely difficult band to describe……….Yes……..really that difficult! The best way I could possibly describe their sound to you would be to say it lies firmly somewhere between The Pet Shop Boys, M83, and Sigur Ros, while not sounding like any of these bands. The sound is atmospheric, almost airy, the music flowing like fine wine albeit wine with fine particles of sand floating on the flawless surface. There is a lot of beauty held within, begging to be released. It's almost impossible to avoid letting this album feel almost personal, and the delivery method is such that it feels not only like you are being sung to, but the vocals wash right over you… though not before leaving a trail of goosebumps scattered over the back of your neck.

I hope I don't sound too pretentious when I say your enjoyment of this album depends entirely on the listening environment and location. Like art, this is an album which is definitely at its best when seen (listened to) as a whole, rather than in pieces, which leaves me wondering why the band have chosen to release singles from it (Special, Apocalypso and Why are you Looking Grave?) Probably a Sony contractual agreement. The vocals range from deep and cracked, to unbelievably high and cat like (though not in the same way as Moloko) and you can't help but feel touched by a wave of emotion as they surround you.

The tracks have the tendency to induce what is almost a state of sleep (not through boredom) but they serve to almost send your brain onto a different listening plain, in the same way as My Bloody Valentine. The sound becomes warmer and you feel almost as if Jonas is singing right into your ear, just an inch away. Mew are therefore a very strange listening experience and definitely at their best when experienced through headphones.

The album becomes a personal soundtrack. This however brings me to the down side.

Mew are (again referencing fine wine) best saved for the right occasion. This album creates a strange illusion, almost as if upon listening, you are 'using it up'. This therefore creates a desire to limit listening, to certain experiences.... For example: On a recent flight to Spain we were flying over the mountains, this seemed to me a perfect time to 'crack open the Mew' I was glad I waited, as the resulting emotions brought on by the sheer beauty of what I was seeing coupled with raw emotion of the music, almost brought me to tears.

Therefore the down side to Mew is that you can't help but feel one day the album will lose its magic. For now at least, '...And the Glass Handed Kites' still holds a special place in my heart, my record collection, and Mew remain one of my all time favourite bands.

------------- * The Album* ---------------

This album has no space between its tracks, meaning this is a continuous assault of sound (almost). Some may find this a little obtrusive, especially as there are very few listener friendly tracks within. Be warned though, this is not background music, it desires, and deserves your full attention to be fully appreciated and enjoyed. Some track elements almost serve as introductions, leading flawlessly into the next. I can't categorize this album by genre as I have no idea what genre they are classed as, but Mew are the only band I have ever struggled to describe. I apologise if I'm making this sound like the world revolves around the existence of this album, it doesn't. But it comes pretty close.

This album isn't for everyone, it aches to be listened to through headphones, and is probably not one for fans of the Arctic Monkeys. However, if you like your music to be challenging, and invoke emotions then I thoroughly recommend giving this a listen. One tip though, DON'T download 'Zookeepers Boy', listen to it on cheap, tinny pc speakers…. and expect to be overwhelmed. Give '..And the Glass Handed Kites' the time and attention it deserves, and you will be thoroughly rewarded.

------------- * Artwork/Case.* ---------------

This album is presented in what is described as a Digipak, but is actually a gatefold sleeve similar to Vinyl album cases. Although I do appreciate this alternative method of packaging, I can't help but feel that this makes it rather fragile. I have already managed to slightly dent the front cover, and I'm unbelievably careful with my cd's.
The front cover isn't too impressive, I'm a huge fan of the work of M/M Paris, but this doesn't really cut it, it seems the designer has attempted to make each band member emerge from the mouth of the member before, but something doesn't quite fit.

I'm not sure if this is a limited edition sleeve or not, the cardboard ones usually are but there's no mention of this anywhere I've looked. A gold sticker on the front states the names of the 2 previous singles (Special and Apocalypso) Though the new single is due out the first week in February (Why are you Looking Grave?)

I understand that not everyone appreciates track by track reviews, I have tried to explain the feelings that this album brings forward and the experience rather than just listing time changes and instruments used etc. Please feel free to ignore this section if you are unlikely to appreciate this, or don't feel a track by track is needed. Unfortunately I can't satisfy all tastes.

------------- * Track analysis.* ---------------

1. Circuitry of the Wolf - 2.44

I have to admit I was a little disheartened when this album began, the first track doesn't have a brilliant start. It is also worth noting here that Mew listened to on a cheap Hi-Fi will disappoint, there are a lot of de-tuned background guitars, which are brought to the forefront by some amps, rather than in the background where they should be, making the album sound a tad messy. This track begins with what I can only describe as a mess of guitar sound. Slowly introducing a piano to the equation, which almost serves to save the track from disintegrating into a mass of static. Guitars get heavier as the track progresses, but this isn't really going anywhere, what I can only describe as an introduction to what follows, as the melody of the next song slowly becomes louder and drowns out the guitars, in come the vocals, the track suddenly takes a turn, and morphs into….track 2.

I don't feel this 'introduction' does the album any justice, it's a little too lacking in any form of melody, making it difficult listening, always a danger with the first track as some people would turn off if the first doesn't impress. Don't let this put you off.

2. Chinaberry Tree - 3.33

Mew now begin to show their true form, the Pet shop Boys style vocals sing away happily as the bassline follows the melody perfectly, the track then breaks down into a more pronounced tune before, doing what only Mew can pull off. Hard to describe, but there are constant time changes which always serve to surprise and keep the album exciting, this is a prime example of that. Tinkling xylophone plays away happily in the background, and in come the deep bassy synths, almost taking the track to another place. This feels very psychedelic. Synths ranging in tone lead us out, but not before setting the listener floating, a perfect way back from the disappointing intro.

3. Why are you Looking Grave? - 3.50

(The 3rd Single) Not my favourite on the album, this has a more mainstream feel to it, sounding strangely familiar. We take a break from the high vocals which are now coupled with a deeper cracked vocal performance. Now a duet, I'm not sure if this is the same singer but it doesn't sound like it. The track sounds slightly childish in its delivery, almost like a modern day nursery rhyme. Again we have an abundance of time changes, and back to the nursery rhyme, This I have to admit is one of my least favourites on the album, but by no means bad, like I say, I consider this album as a whole which is why breaking it down into tracks is a rather difficult task. Drumming takes us into track 4...

4. Fox Cub - 1.15

An interlude of sorts, very minimal vocals and tinkling synths, with hardly a bassline in sight… Then almost out of nowhere, in come the drums, very slowly building in speed, leaving you on the brink of exploding in expectation….

5. Apocalypso - 4.46

You are not left disappointed as this leads perfectly into my favourite track on the album. The song takes jumps from being very low down and brooding, to beautiful sci-fi soundscapes, this is one track that really provokes a feeling of flying through the air, Listening to this one leaves you feeling like you could achieve anything. Brilliant! This track probably has the most use of synths on the album, and also progresses the most, this is always one to skip to if you feel you really need to. A beautiful song, the power and raw emotion behind this track is amazing, it never fails to give me goosebumps. (This is the second single taken from the album)

6. Special - 3.13

Drumming again takes us into this track, a pumping rhythmic bassline disintegrates into guitars that surround you with their sound before again returning to the now familiar bassline. The vocals again a duet, though not as prominent as before. An excellent song, the way its rhythm skips along is ultimately very satisfying. (This is the first single taken from the album)
The progression into the next track isn't as smooth as before, it seems intentional, almost as if to give a feeling of betrayal, things can't always remain that happy…Things always go wrong…

7. The Zookeepers Boy - 4.43

Voted the best track on the album by fans (according to the official website) It's my second favourite. A lot darker in sound than the previous few tracks to begin with, then suddenly in kicks a happy tinkling melody, it totally takes you by surprise. By this point it's usually best to admit defeat and realise that Mew are impossible to predict. The vocals are again layered between being deeper and really high and cat like, but never obtrusive, the way they blend with the music in this track is amazing, almost being used like an instrument. A very uplifting song, yet there is still something that sounds quite brooding underneath all the happiness. The vocals in this track do vary from the previous tracks, it's truly amazing how the wave of vocals surround you.

8. A Dark Design - 3.29

The vocals lead us into this track… Beginning with what sounds like an ageing accordion, the vocals kick in, with the vocalist almost sounding as if he has given up on life.. Suddenly the track changes completely and takes us back towards the more familiar sound of the previous songs. The problem

with this one is that it sounds very similar to tracks that have played already, and at this point I admit I did begin to feel as if Mew were a band, and this an album that I could very easily tire of. The track continues to plod on, not a lot really happens compared to the previous songs, Very ordinary.

9. Saviours of Jazz Ballet (Fear me, December) - 3.18

I'll be honest, upon reaching track 9, I didn't even notice the change. The tracks blended together in such a way that the change simply sounded like one of the previous time changes. This song again makes use of the deep and brooding synths, before dumping them in favour of piano and clean depressive vocals. The track then jumps into the sky almost, giving you again, the feeling of flying, goosebumps rush over me at this point, this is why Mew are so great!
You can't help but look at the cd player to see if you are on the next track as with a minute remaining the music ends and is replaced only by vocals, humming along…suddenly the almost silence is breached by dark and crunching synths, leading us into the next track wondering where we will be taken next..

10. An Envoy to Open Seas - 3.40

Crashing cymbals and thumping drums introduce us to track 10, before the bass guitar builds, and leads us into the vocals, You cant help but feel the album has now taken a turn towards the dark side. There is now a different feeling to the tracks as if a feeling of desperation has been replaced by one or realisation that everything is bad. The feeling of joy and hope is gone. Regardless of the title, this track feels like less of a journey than any of those gone before. The vocals, while not sounding like those of someone in despair, sound like those of someone who no longer cares.

11. Small Ambulance - 1.05

Vocals once again humming along to a non existent melody. Another interlude, a very short one.

12. The Seething Rain Weeps for You (Uda Pruda) - 4.18

A harsh beginning to this track after the last was so soothing, not really what you expect Small Ambulance to lead into but pretty soon the overly loud synths break down and lead into an amazing feel good chorus, which then leads into yet another time change, leaving you wondering where to go, and how to react to this. The constant changes coupled with the soothing vocals seem to lead to a false sense of security, maybe where the singer's references to death come into this. The melodic happy bits being the distraction from death, but the undertones being the moments that reality catches up with you and the constant thoughts in the back of your mind that you try your best to avoid...That one day this is all over. Droning deep bells lead us out. There is a moments silence here, it's very much appreciated at this point. Mew can be quite emotionally draining to listen to.

13. White Lips Kissed - 6.44

A beautiful and moving ballad. Piano, soft synths and meticulous vocals. The track slowly builds into almost a magical crescendo. Through the magic we hear the distant drumming of what could be a marching band coupled with high vocals almost crying out for understanding, reaching the conclusion that no matter how much pleading, nothing is going to change, and finally giving in to the nightmare that is reality. The track proceeds to descend into detuned guitar noise before finally reducing itself to a hollow piano. Lonesome again. We fade out for a moments silence to reflect. This is very moving.

14. Louise Louisa - 7.17

Rolling snares redeem us from the silence, introducing yet again the emotion laced vocals, slowly but surely becoming heavier, reaching what appears to be a climax before immediately being knocked back down to a slow and emotional 'What a day I've had, now it's over' Again we step towards the light, in the form of a heavier crescendo before becoming silent. Is it over? Guitars slowly build in a disorganized fashion, allowing us just one last glimmer of hope. As we again reach up, almost as if clinging on to the last fragments of life…All drums fade to silence, being slowly replaced by horns as the track slowly ebbs away. Becoming more and more minimal as far as instrumental content is concerned, reduced to barely a vocal and singular droning synth. Is there anything left? 'I don't know where we are, stay with me, don't want to be….alone…' The vocals end here, as does the album, leaving me feeling contented yet emotionally exhausted.

Total running time - 54:02

------------- * Final words.* ---------------

A beautifully crafted album that really begs for your attention, I thoroughly recommend it. None of the tracks are likely to remain in your head for long after listening, but you will still crave for more. If you're prepared for a challenge, Mew are for you! 'And the Glass Handed Kites' is a fantastic addition to what is becoming a tired music industry. I don't think any album before this has ever affected me in the way this has.

* Thank you for reading my review. If you have any further questions or suggestions, please let me know. *

------------- * Additional information * ---------------

Line-up:

Jonas Bjerre (Vocals)
Bo Madsen
Johan Wohlert
Silas Utke Graae Jorgensen

Music:

Produced by Michael Beinhorn
Written by Mew

Sleeve:

Design by M/M Paris (Bjork, Madonna)
Photography by Gael Amzalag

Other useful information:

Label in Denmark - Evil Office
Label in UK - Sony/BMG
Official site - www.mewsite.com
M/M Paris - www.mmparis.com

Currently on sale in HMV for £6.99.