Everything Is Recorded – ‘Richard Russell Is Temporary’ album review: This is its own genre
THE SKINNY: Indulge me a second for a quick history lesson. Prior to the 1960s, albums were never that important. People’s careers rested on the success of singles, and most albums were just compilations of these singles. There were some exceptions to this, but the album format didn’t become that important until the ‘60s when bands like The Beatles, The Who, and Jimi Hendrix started making records connected in sound, theme, and tone.
Since then, the album has become a complicated thing, incredibly versatile and a means of consuming music that can take on various forms. There are some people who, in a world of streaming, don’t bother with them, then there are others who flick through albums and put their favourite songs into playlists, and finally, there are people who only ever consume an album as a whole. I would argue that when listening to the newest album by Everything Is Recorded, Richard Russell Is Temporary, you need to adopt the approach of the latter.
This album is unlike many records out there. Beautiful and natural-sounding harmony ties the majority of songs together, acting as a constant in an otherwise eccentric unpredictability. A number of movements, styles, and genres go into this album, and you need to be on board with that unpredictability and the fact that little is consistent with it. Once you’re okay with that and settle into this record, you’ll be treated to excellent production, instrumentation and vocal performances on songs that persistently keep you guessing.
At Far Out, we do track-by-track reviews of albums, which is what you’ll find below, but Temporary is something that needs to be consumed as a whole. Songs are less songs and more chapter titles on an audiobook about musical history. It’s a true joy to behold, and you should set aside time to listen to it.
For fans of: Movies that keep you guessing, even after they’ve finished.
A concluding comment from M Night Shyamalan: “Even I didn’t see some of these twists coming.”
Richard Russell Is Temporary track by track:
Release: February 28th | Label: XL Recordings | Producer: Richard Russell
‘October’: A sweet and natural-sounding introduction to what proves to be an incredibly versatile album. Birdsong, a ringing phone, spoken word, and acoustic guitar, lays us down into the rest of the record. [n/a]
‘My And Me’: The sweet introduction is matched with perfectly synched and gospel-like harmony. Subtle instrumentation backs up soulful vocals that could carry a song acapella if they wanted to. Being backed up by what eventually becomes strings, other vocalists, and brass makes for an enlightening piece of music. [4/5]
‘Porcupine Tattoo’: A tricky track to wrap your ears around but also one that sets the tone for the album well. It tells the listener to stop trying to predict things and just let these songs take a natural turn. Harmonies can be strange, and instrumentation can vary, but you’re here for the ride, so just enjoy it. [3.5/5]
‘Never Felt Better’: If anything can be considered a single on this album, it’s this. It sounds a lot more separated from some of the other tracks on the record and has vocal and instrumental performances that linger even after listening. [5/5]
‘Ether’: Subtle synths usher in a clicked percussion akin to cheap drum machines. It creates a lo-fi atmosphere, which is built upon Maddy Prior’s vocals and keys. Contrast the mechanical sound of the drums with the heaps of vocals, both lead and backing, that feel as natural as the sound of running water and blowing wind. This contradiction of a track is a beautiful ride. [3.5/5]
‘Losing You’: One of the songs which is more sure of itself. There is no messing about with introductions or building atmosphere; the beat kicks in immediately and remains throughout. This is a very funky song, one easy to nod to and a lot of fun to submerge yourself in. [4.5/5]
‘Firelight’: Strong distant synth and a voiceover so far away it can’t be heard. The beginning of this track feels like it’s passing by you, and you need to grab on and capture it. The beautiful-sounding but slightly off-kilter and outdated vocal style is haunting, like a song that has been dragged through time and covered in glue, picking up residue from various movements and genres throughout. [4.5/5]
‘The Summons’: An interlude made up of a small speech about a fleeting relationship with a father and a haphazard concoction of breakbeats, synth sounds, and static and overheard conversations. [n/a]
‘No More Rehearsals’: This album is one that constantly flaunts how little it will be pinned down. The eras covered in this track span bedroom pop to ‘60s rock; the changes are sudden, no subtlety is used in jumping from style to style, and yet it works perfectly. [5/5]
‘You Were Smiling’: Soulful vocal runs play in the distance alongside scales on keys. Vocals are delicate, light and fragile. As the track progresses, it becomes more sure of itself, with complex string sections, heavy bass and percussion that sounds as though it has been made out of a ticking clock. [4/5]
‘Norm’: Bill Callahan is the star of the show of this song. His voice feels like that of a jaded blues singer who has stumbled over a beat and needs to get something off his chest. There is a real maturity in the approach to this song, stripping back sounds and letting these gorgeous vocals do what they do best. The second half of the track then takes on a new shape, as instrumentation moves more off-kilter and soundbites of Norm MacDonald are played throughout. It’s a strangely moving and complicated listen from start to finish, but a song unlike anything else you’ve heard. [4.5]
‘Swamp Dream #3’: An oscillating synth sound ushers in this chaotic and aggressive-sounding introduction, steadily breaking into something with rhythm, sporadic horns and fuzz. This is a haunting number, but it is a joy to listen to throughout. [4/5]
‘The Meadows’: More of those sweeting-sounding vocal harmonies that have been such a big part of this album. I’ll never tire of them, and as they usher in these unpredictable songs, they act as the one source of familiarity on this record, which is laced with various features, styles and sounds—a hook in themselves amongst an opera of wonderful unpredictability. ‘The Meadows’ stays true to these vocals, never veering far from their gorgeous harmony, riding on top of them and creating something that could bring a smile to the face of the saddest souls. [4.5/5]
‘Goodbye (Hell Of A Ride)’: Acoustic guitar marks the beginning of the end. Nourished By Time has a voice that’s hard to pinpoint but sits perfectly on this song. The track remains consistent throughout, with an acoustic guitar, some soundbites, a light synth, and beautiful vocals. After a delightfully unpredictable album, this straightforward send-off feels incredibly apt, as it marks the end of something that has finished all too soon. [4.5/5]
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