London Grammar
Californian Soil
Metal & Dust/Ministry of Sound
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In recent years, it seems that the demands placed on the shoulders of aspiring musicians have intensified, while the coveted rewards of consistent critical acclaim, financial stability and career longevity are arguably more evasive than ever before.
As streaming commands an ever-expanding portion of the music consumption pie relative to more traditional physical formats and corporate profit margins narrow as a result, record labels apply more pressure on their artists to deliver a steadier volume of output. To generate any kind of meaningful, livable income—or to simply pay the rent each month—artists increasingly rely on touring as the lifeblood of their professional viability, whether they’re on the road for months on end or more recently, conducting virtual, livestreaming performances as a stopgap measure.
Moreover, the proliferation of social media has afforded fans greater accessibility to artists, transforming far too many of them into emboldened, self-proclaimed “stans” that expect and demand way too much from the objects of their irrational—and often imbecilic—obsessions. Not to mention that amidst all of this, artists are forced to deal with their fair share of pretentious, narcissistic journalists who care more about generating clicks for their respective platforms and their own personal brand-building than the music itself.
In can be downright exhausting. Professionally, psychologically, emotionally and physically…exhausting.
London Grammar understand this reality all too well. Propelled by the enthusiastic—and very much well-deserved—reception that greeted their breakthrough debut album If You Wait (2013) and its revelatory follow-up Truth Is A Beautiful Thing (2017), the UK trio comprised of vocalist Hannah Reid, guitarist Dan Rothman and multi-instrumentalist Dominic “Dot” Major found themselves fully ensconced within the industry promotional machine.
But as their fame accelerated and fanbase swelled, Reid, in particular, experienced the more detrimental and soul-depleting sides of their career ascension, most notably as the victim of pervasive misogyny, in both overt and subtle forms. “I felt like I started to mould myself around certain men,” Reid explained during a February NME interview. “I just felt like I had a different task to the boys. They could walk into a room and just be taken seriously as musicians straight away.”
Amidst all of this, Reid also inherited a newfound physical burden, developing fibromyalgia. The symptoms of the often-debilitating condition defined by chronic pain and fatigue first manifested years ago during the tour in support of If You Wait, and Reid has dealt with recurring bouts ever since. Though Rothman and Major have been supportive as she has managed her health in the face of demanding recording and touring schedules, others surrounding her haven’t always been as understanding. “When stuff started going wrong with my health, we were coerced multiple times to keep going,” Reid recently confided to Flood Magazine. “People say it’s not about the money, but it is about the money. You’re a product, essentially.”
The group’s third album and, notably, the first that features a solitary Reid on the front cover artwork, Californian Soil finds Reid squarely positioned as the central embodiment of the group’s ethos, her voice more empowered and forthcoming in confronting her anxieties than can be heard across its two precursors. The defiant “Lord It’s A Feeling” is arguably the prime example of Reid’s newfound confidence, as she summons refreshingly direct lyricism in examining emotional manipulation, as evidenced in the opening verse, where Reid boldly exposes the guilty party, proclaiming “I saw the way you made her feel / Like she should be somebody else / I saw the way she tried to hold you / When your heart was just a shell / I saw the words she wrote that broke my heart / It was a living hell / I saw the way you laughed behind her back / When you fucked somebody else.”
Lyrically, it’s not all doom and gloom, however. Juxtaposed with the group’s signature, sobering fare are glimmers of more euphoric and sanguine sentiments that make Californian Soil a thematically more balanced affair overall. Lead single “Baby It’s You” injects positive energy into the proceedings through its endearing exploration of falling in love and the emotional highs that typically ensue. “Call Your Friends” follows and extends similar amorous themes, with a self-aware Reid reflecting upon previous missteps that have enabled her to appreciate the more supportive partner in her life now.
Musically, the sonic gravity and soaring, symphonic arrangements that characterized If You Wait and Truth Is A Beautiful Thing remain intact, but there is also a noticeable movement toward a heightened buoyancy in many of the songs’ melodic structures. This more varied, expansive sonic tapestry is aided in no small part by the contributions of co-producers George FitzGerald and Steve Mac (CHVRCHES, Melanie C, Ed Sheeran), both of whom challenge the group beyond their tried-and-true comfort zones.
Even when Reid’s darker, more somber lyrical disposition resurfaces, the accompanying soundscapes offer an intriguing counterbalance in tone and mood. The FitzGerald produced standout “Lose Your Head” is defined by its chanting chorus and uplifting melody, which stand in contrast to the lyrics that allude to a troubled relationship. Likewise, the Mac orchestrated break-up-and-move-on anthem “How Does It Feel” finds the group embracing a heightened pop sensibility, and the pivot suits them well.
Additional highlights abound across Californian Soil’s efficient 12-song, 44-minute duration. With a tempo reminiscent of “Oh Woman Oh Man” from Truth Is A Beautiful Thing, the title track examines the search for identity among life’s vicissitudes and adversities. A shimmering, escapist ode to breaking free of restrictions, “I Need The Night” contains veiled references to Reid’s marginalization as a woman in the music business (“Take all your limbs and wrap them round your neck / So they all laugh at your predicament”).
“Missing” features Reid experimenting with a nuanced, spoken word-like vocal delivery, the song’s sparse sonic backdrop punctuating the beauty and versatility of Reid’s voice. A beautifully executed, piano-driven composition, “Talking” originally germinated around the time of Truth Is A Beautiful Thing’s genesis and was resurrected by the group as they plotted this album’s path.
“And all the parties, they fade / And yes, my looks, they'll go away / I'll just be left here in America / But she never had a home for me,” Reid sings as the album-closing “America” concludes, referencing the dubious “American dream” as a metaphor for breaking free from the superfluous and superficial matters in her life. Her sentiments can also be interpreted as speaking, more broadly, to a much-needed recalibration for the group that can be heard across the entirety of Californian Soil, as they take stock of their career to date and embark upon new musical roads that lie ahead.
Notable Tracks: “America” | “Baby It’s You” | “I Need The Night” | “Lord It’s A Feeling” | “Lose Your Head”
BUY Californian Soil via London Grammar’s Official Store
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