If only: An immediate song that starts with a dry vocal on its own and then kicks in with all instruments blazing. The playing is tight and what hits you from the start is the uncompromising lyrics, as I cleared away the sun from my soul is the opening gambit. You are thrown into the world of this record right away with the discordant guitar work being countered by bowed strings creating a sense of menace. There is no room for solos and the song leaves with Charlie Beresford (CB) reciting if only in P J Harvey type mantra over looped chords.
Nosfer: Like Nosfer(ii), Jesun, and Accorbass, is an improvisation between Tim Harries (double bass) and Mark Emerson (in this case what sounds like viola). I wasnt sure about any of these pieces on first listening but they begin to grow as scene setters the more you listen to them. I can see why they have been put in the album and they show what Tim and Mark are capable of when let off the lease, but lovers of the more melodic sides of music will not find these Schnittke like pieces easy to get into.
The room is empty: The title track sounds like a salsa from hell with CB and TH underpinning the whole song with aggressive chords while ME overdubs hard edged strings and dark accordion work. This track is dramatic, maybe too dramatic for some, but rarely will you hear acoustic instruments sound so heavy.
I let you walk with me: There is a beauty and reflection in this track which for me makes it the high light of the album, the structure of CB playing is rigid while everything else including the vocals is allowed to flow over the top. THs bass sounds like a wailing spirit and holds no rhythm instead following CB beautiful vocal line. The words are enigmatic and conjure a sense of loss and anger in a less obvious way than modern music is used to delivering.
The tide that pushed away: From the opening you can tell that all three of the musicians involved in this album must come from a jazz background. At first it seems that the melody is almost nonexistent, but further listening uncovers complex harmonies. This is a dark and accusing song Are you spitting at your grief once more? nags the chorus. It is detailed as with most of the songs by the 3 musicians sense of place. This song took time and as such would probably be lost on the casual listener, which is something that could be thrown at much of the album.
Hillside lights: In contrast to last track this song opens with sampled sounds of the out doors sheep are bleating, pheasants are doing what pheasants do, and the leaves are rustling. The production is particularly interesting as the vocals sound like they were done outside with the sheep. There is also a pleasant wake up call in the middle of the song (I wouldnt want to ruin the surprise). The timings are unusual and hypnotic.
Hard surface: The bluesy feel is driven by TH most standard double bass performance on the album along with great viola playing by ME. The rock influence is prevalent here with a driving chorus. Probably the most standard track on display here, it is what is, no clues required.
To smile: Not my favourite this. As with everything on The room is empty the standard is not in question. It just didnt grab me.
This point here: A jazzy swirling affair reminiscent of the feel of Bjorks Vespertine. Beautiful melodies and a sense of fun but as with the whole remit of this there is an underlying sinister edged. When CB sings Safe within the warmth of your skin I believe Im immortal, Im not sure youd want him there. The track flows along lava flow bass lines and insect like strings. the lyrics are delivered with a stage whisper. The structure is lovely, and otherworldly.
Not the man: A strangely potent rant on the state of the church in UK. I cant put my finger on why it affects but it would seem that CB is quite seriously bothered by it. Mainly solo acoustic and vocal with what sounds like a finger cracking guitar part. Joined in the middle 8 by a very classical string section. This is hard hitting stuff, not one feels designed purely for the listeners pleasure.
Shards: A tiny little song that is devastatingly lacking in hope. Beautiful, but painful at the same time. Solo again but for a small string phrase that leaves as fast as it comes. The whole piece ends the album leaving the listener on the edge of the cliff with no-one to talk you down.
This is a dark brooding CD that slowly seeps into you.
When I first heard it I couldn't quite get what was going on. After a few listens I began to realise that it was the newness of what was going on that was distracting me from the content. There are no drums no immediate catchy tunes just very nimble quietly hypnotic virtuoso performances. Charlie Beresford has a singing voice to rival Jeff Buckley, but with a darker edge, and his take on playing the acoustic is highly original. Added to this is the great double bass work of Tim Harries (who has played with everyone from Brian Eno to Bill Bruford) sounding at times like a howling spirit, and the melting strings of Mark Emerson. Everything about this recording oozes quality from the writing through to the production.
I had got to the album from hearing track 3 'I let you walk with me' on a late night radio show and I have to say I think this is the track that will get you into understanding what is going on and is a personal highlight for me. This album has to be viewed as a whole rather than looking for any one track to be the best.
'The Room is Empty' needs time spent on it which means sadly some people may dismiss it without trying to understand it. 'The Room is Empty' is a work of art I wish I could hang on my wall.
