In 2002 it was revealed that Opeth would record and produce two albums. One of these would be an electric monstrosity mired in the sound of brutal death and black metal, the other a haunting, progressive record that did away entirely with the band’s more typical, metallic elements. Few extreme metal bands had attempted such a departure from their sound at that time and even fewer had been successful, but Opeth not only pulled it off, but positively revelled in the experience. This is relevant to the this particular review to the extent that it is to ‘Damnation’ that ‘Lucid Abstractions’ will be most obviously compared, although such a comparison is but a starting point and if you really want to find this remarkable EP’s ancestors you’d best look to the complex, beautiful, rarely matched ‘in the court of the crimson king’, the peculiar Englishness of which Spires have brilliantly tapped into to deliver an EP that is utterly magnificent in its sense of awe and wonder.
That Spires have attempted an acoustic EP so early in their career speaks volumes about their self-confidence, but what is instantly apparent is that their songs are detailed enough, melodic enough, and beautiful enough to make the choice seem not only wise but essential – ‘lucid abstractions’ is the white to the roaring black of ‘Spiral of ascension’ and it is the perfect companion piece delivered with skill and aplomb by a band whose skills are even greater than the debut album suggested.
Opening with the subtle beauty of ‘under bloodstained skies’, the first thing to capture you is the sound. The EP is perfectly produced by guitarist/vocalist Paul Sadler with each instrument captured in sumptuous, velveteen clarity. Paul’s voice is also a revelation, laden with a gentle yearning and an ethereal quality, the layers of harmonies are augmented by the cymbal washes and Alex Jolley’s fretless bass. For any other band such a recording would have been a daunting experience, but such is the band’s utter mastery of their art that they even make it sound easy. This is none more apparent than on the utterly wonderful, three-part title track which clocks in at almost ten minutes and leaves you breathless at the sheer scope of Spires’ ambition. The band even draw in guest musicians in the form of Talena Cuthbert (vocals) and Jacqueline Wilson (cello) to add extra weight to proceedings. The cello is an inspired addition, adding a gravitas to the music with its distinctive tones, whilst Talena’s vocals are reminiscent of the sterling work done by Sam Brown and her choir on David Gilmour’s acoustic performance at Robert Wyatt’s Meltdown festival. Indeed, alongside Crimson, Pink Floyd are another reference point that Spires gently touch upon, albeit the younger, more pastoral Floyd who recorded ‘Atom Heart Mother’ than the damaged, paranoid Floyd of ‘the wall’, although the middle section of the song is laden with an unexpected tension that causes the gut to clench as the music spills and seeps out of the speakers, the guitars an intricate web the band weave around you whilst Chris Barnard’s jazz-influenced drumming spirals off into hitherto unseen pastures.
Track three takes us into the gentle territory of ‘perception’ which certainly hints at Opeth with its rippling chords and sumptuous sound. The playing is just stunning and yet there’s never even the slightest hint of technicality for technicality’s sake – every note here resonates with feeling and emotion and, once again, it is Paul’s voice which acts as your guide through the musical wonderland the band have crafted. With the cello once again adding a rich, smooth melody to proceedings, the track is a warm, textured work that recalls the simmering folk of King Crimson’s ‘Starless and bible black’ with only the throbbing bass to remind you that there’s a harder edge to this band than is being presented here. It’s a six minute, slow-burning stunner that passes in the blink of an eye and then comes the lament of ‘inevitability’ which is equally mesmerising. More than anything else what strikes is how utterly timeless this EP sounds. Whilst it clearly makes good use of modern technology to capture every sparkling note, the music would sit just as comfortably alongside a release from Floyd or Crimson back in the mid-seventies as it does now – the sure-fire mark of piece of work that moves beyond mere music and heads into art territory. The final track is an acoustic rendition of ‘spiral of ascension’, the title track of the band’s debut record and whilst it is a very different beast indeed from its earlier incarnation, it allows you to clearly trace the band’s progressive roots and it is an act of courage indeed for a band to side-step their initial template so soon in their career.
‘Lucid abstractions’ does not herald a new direction for Spires, rather it underscores what was already there within the band’s music and provides a sublime counterpoint to the band’s incredible debut. The quality of the work here- the near-perfect production, the stunning musicianship – is indisputably brilliant; the song-writing inspired and the delivery that of a band both imaginative and confident. ‘Lucid abstractions’ is one of those stunning releases that takes you to a better place – a fluid, wonderful journey of the imagination that strips away the cares and troubles of everyday life and soothes your weary brow. Once again Spires have stepped beyond the boundaries of genres and crafted a record that is simply for fans of that wonderful art form we call music. On this evidence Spires are a band of near-limitless potential who have, to this point, just been warming up. What they might achieve next time round is truly hard to comprehend. A flawless delight from start to finish, ‘Lucid abstractions’ is a mandatory purchase.
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