Album Review: EOB - 'Earth'
As a Radiohead fan, actually hearing the Ed O’Brien solo album is slightly surreal. Rumours and interviews had hinted for years and finally here we are. Many of the songs that make up Earth all have their own unique stories. From opener Shangri-La, named after an area of Glastonbury that was written not long after O’Brien headlined the festival with Radiohead, to Sail On and it’s reflection on death, sparked by a loss in the family.
The aforementioned opener Shangri-La is a great place to start with this record. Starting with a chirping little rhythm, we soon see the track build and evolve. It’s got the rhythms and pulse that O’Brien talked about in regards to potential solo music but it’s wrapped in this twisted rock that drives the track ever faster. Squealing guitars and other hypnotic lead lines wrap round the track later on, somehow making the track even groovier as you fall into it. It comes back around to a small finish in a lovely cyclical way.
That small finish also helps lead into Brasil. The first single we heard from the track sounds even better here in amongst the other tracks. The chiming leads and steady rhythm help the song solidify itself as a quintessential builder. Deep Days follows with a solid instrumental topped with great ear candy. The choruses on this track really draw you in with that infectious melody. It’s another track that just builds up it’s textures, giving you plenty to listen out for. Long Time Coming is more restrained but builds textures similarly. It skips along steadily until it’s hanging conclusion
Mass excites the shoegazer in me. O’Brien says it’s inspired by space and I think that’s the only thing that could have inspired this expansive track. A soft acoustic guitar lures you in and the track begins to unfold. Cooing, soft vocals adorn the track along with distorted and warbling textures. All of this comes together to invoke feelings like those I had listening to Loveless for the first time years ago.
Banksters swings straight into its rhythm. Distorted sounds and echoes come and go but that slick groove holds the track the whole time. Acoustic guitars meld with distorted electric guitars and sirens sound out as the chorus calls out, questioning “Where did all the money go?”. The song switches to a chilled bridge that carries through to the end before Sail On glides in with it’s plucked guitars. Vocals call out over the open track. It’s sparse but beautiful.
Olympik is another track that strongly invokes a musical memory, this time the slick, dancey rock of INXS. Here instead it’s crossed with more rave and electronica along with a helping of art rock. It earns it’s eight minute run time well, captivating the listener throughout its length. According to O’Brien, the recording we hear is largely the fourth live take of him and his assembled band playing the track together and I think that’s what makes it so hypnotic. The band sits so tightly in the groove as the song continues. It’s somewhere between an extended rave mix and a funk jam and I love every minute of it.
The record ends on Cloak of the Night. A walking fingerpicked guitar line takes center stage with O’Brien and Laura Marling singing together around it. It’s a wistful ending to the album. Their voices work well together and the track has a reflective quality to it.
I didn’t know what to expect from this album which made my first listen even more exciting. The styles and sounds vary but the quality of the songs and the quality of the production is top notch throughout. Flood’s involvement on the record definitely has some hand in that. Fans of Radiohead will obviously love the record but I think Earth is more than good enough to stand on its own merit. If you like the arty side of rock, if you like genre fusion and great soundscapes then this is a record you must hear. It’s certainly a contender for the end of year list for me.
Words by Nathan Blackstone