Title

Label/Cat No.

Year

Length

World Of Bright Futures

Hi-Art 3

1999

41'11

The Way We Used To Live

Hi-Art 7

2000

44'51

WORLD OF BRIGHT FUTURES

'World of Bright Futures' is the debut album from No-Man singer Tim Bowness and the "darkly atmospheric Cambridge-based trio" Samuel Smiles who were formed in the early 1990's around the nucleus of Michael Bearpark (guitars, bass, drum machine), Tim Bowness (vocals and some guitars) and Peter Chilvers (piano and bass). Samuel Smiles were about "combining intimate song structures with jazz-tinged, textural musical excursions influenced by the likes of Bowie, Fripp and Eno, Nick Drake and John Martyn". The band were augmented by saxophonist / flautist Myke Clifford in 1998.

Also appearing on this album are Irish singer Sandra O'Neill, guitarist Tony Harn, percussionist Rick Edwards and Porcupine Tree's Colin Edwin (bass) and Steven Wilson on guitars.  The eight original songs on this album are written mainly by Bowness with Bearpark and Chilvers also contributing.

The whole album has a very laid back, sophisticated feel;  Bowness' voice is reminiscent of Bowie and Peter Hammill, and the backing instrumentation throughout is slow and gentle, yet rich and atmospheric.

The album begins with the title track. 'World Of Bright Futures' (5.28) one of the two tracks containing the ubiquitous drum machine which here suits the mood of the song.  This piece is enhanced by heavy use of sensual sax sounds combined with lots of lovely piano work ... a great start.

'Dreaming Of Babylon' (5.37) is a comparatively upbeat song. Clifford's bongos provide the gentle rhythm on this track which also contains a fine blend of instrumentation giving it a moody feel.

On '(Watching) Over Me' (3.33) Samuel Smiles are augmented by Rick Edwards and the Porcupine Tree boys and Sandra O'Neill on backing vocals ... a fabulous number.

'Sorry Looking Soldier' (4.51) is another slow number with the instrumentation blending together perfectly. This is a song with an almost unbearable sweetness of tone, listen and weep ...

King Crimson's 'Two Hands' (3.04) comes next, and this version is stripped to the bare bones with just vocals, guitar and piano contributing. Nevertheless, this trio create a magical and spellbinding atmosphere.

A change of pace with 'Red Eye Removal' (4.15), a faster paced number with stronger instrumentation. Guest musician Tony Harn plays guitar, organ and bass on this track.

'Something Of You' (3.24) is another song utilising just voice, guitar, piano and bass.  A starkly simple setting that just works sooooo well.

The next track combines an instrumental section by Bearpark with a Peter Hammill song.  In 'Lisa/Orphelia' (4.52) Bowness' vocals are at their best against a sparkling instrumental backdrop.

'Small' (4.36) is the second track with the presence of the drum machine.  Around this lies the vibrating, tinkling ivories and a variety of guitar and bass sounds - an effective piece. Lastly, 'Smaller' (1.29) is a brief throbbing instrumental passage.

Samuel Smiles recorded 'World Of Bright Futures' as "an attempt to chronicle the best of their efforts thus far" ... and very good they are too!  I fell for this album from the very first listen - and I still love it ... Buy it quickly and you might be one of the lucky recipients of the additional five track live CD ...

Checkout some sound bites on the Tim Bowness website.  Bowness and Samuel Smiles have released a second album, 'The Way We Used To Live', which was recorded live in 1999, and are also reportedly recording a new studio album.  All four members are also involved in the new band Henry Fool.

Marisa 26th November 2000

THE WAY WE USED TO LIVE

Tracklist: Dreaming of Babylon (4.59), Fly / Black Eyed Dog (7.54), Bottleneck (4.43), Watching (Over Me) (5.36), World of Bright Futures (6.40),  Never Lose Control (2.40),  Beaten by Love (3.44),  All That You Are (4.16),  Brightest Blue (4.17).

This is a live performance, recorded at the Cambridge Folk Club towards the end of 1999 with, the sleeve notes tell us, no overdubs.

The band line up is the same as on 'World of Bright Futures' - vocalist Tim Bowness, Mike Bearpark on guitar and loops, Peter Chilvers on piano and drum machine and Myke Clifford on sax, flute and percussion.

The album opens with 'Dreaming of Babylon', from the 'WoBF' album, and this sets the scene well for what is to come.  A hypnotic circling piano line is interwoven with the gentle and rich sax sounds that support Bowness' smooth voice ... fabulous.

A pair of Nick Drake songs come next; 'Fly' is a delicate and beautiful piece in which the sensitive instrumentation sits well beneath the ethereal vocals - this other worldly mood continuing through into the second song, 'Black Eyed Dog'.

The rest of the material on the CD are written by various combinations of band members, starting with 'Bottleneck'.  This has a more strident tone which is softened by some fine piano work.

Next up is 'Watching (Over Me)', from 'WoBF', which comes over really nicely in this environment - its exquisite, fragile sound being excellently conveyed.

This rendition of 'World of Bright Futures' has a great moody feel that is intensified by Bowness' subtle vocal work allied with the spine tingling saxophone playing.

A version of the next track, 'Never Lose Control', appeared on the additional CD that came with 'WoBF'.  It's a slow moving song with understated instrumentation.

'Beaten by Love' is introduced as being "more aggressive". This aggression is conveyed by the discordant sax sounds that sometimes dominate the piece, overriding the eloquent, somewhat breathy vocals.

The pace slows down again for the last two tracks; 'All That You Are' and 'Brightest Blue' - another number that appeared on the 'WoBF' supplemental disc.  Both of these are skilfully played, as is the rest of the album, with the intricate instrumentation merging gently into sweet and subtle harmonies.

This is a very enjoyable, laid back album with a calming influence that, I've found, makes it ideal for listening to whilst driving! If, as they say, this is true reflection of the band's live performance, I look forward to (hopefully) seeing them play one day ...

Marisa 18th March, 2001