Gruff Rhys – ‘Sadness Sets Me Free’ album review: An intergalactic-inspired masterpiece
THE SKINNY: ‘Sadness Sets Me Free’ marks the 25th studio album from Gruff Rhys. It acts as a clear reflection of the understanding of sound and structure he has developed throughout his prolific career and his ability to continue pushing himself creatively.
The cosmic theme that Rhys has gone for in this album is a perfect representation of its overall sound. It’s light and delicate, yet full in terms of the amount of production that has gone into each track. A string quartet sounds as natural to proceedings as a metronome would, and the psychedelic backdrop that shadows each song makes the LP the perfect soundtrack for take-off.
It’s not helpful to describe an album as stripped back but simultaneously full, yet that’s what you get with this record. Given the majority of it was recorded live on acoustic instruments, there is a comforting and wholesome energy there, a natural buzz, but thereafter, a modern-day production treatment dominates the barebones, transfiguring the once comforting sound into one that could be played at festivals.
Sadness Sets Me Free is a triumph. It has a cohesive sound all the way but, at the same time, doesn’t fall victim to repeating itself. The music is inspired, the tone is tranquil, and Gruff’s voice has never sounded better as he dips from low to high without issue. For such a downbeat title, this record gives you a lot to smile about. It shines sun firmly into winter, conjuring the balm of beers on the grass that lay ahead.
For fans of: Sci-fi films but not sci-fi soundtracks, cohesion, and good handshakes.
A concluding comment from Tom’s mother: “Now here is a man who has turned being a pothead into a viable career move. A talented botanist all the way.”
Sadness Sets Me Free track by track:
Release date: 25 January | Producer: Maxime Kozinetz | Label: Rough Trade
‘Sadness Sets Me Free’: A country-like piano-heavy look into vanity and sadness. The album’s tone is established right from the start, as all instruments are present, including the string quartet, which contributes a great deal to the whole record. [4/5]
‘Bad Friend’: The song is a look into what it means to be a good friend and involves Gruff trying to determine whether or not that’s him. His voice is low and sweet-sounding, whilst the instrumentation is busy but not overpowering. [4/5]
‘Celestial Candyfloss’: A lead single from the album and one of the clear standouts. Every second is absolutely faultless. It’s a blissed-out swirl of avant-pop. [5/5]
‘Silver Lining (Lead Balloons)’: An upbeat and excitable track that uses harmony incredibly well and has a brass section for an added layer. The Paul McCartney influence shines through sweetly. [4/5]
‘On The Far Side of the Dollar’: A song that feels much more pondering in nature, one with a hint of unknowing about it, draped in psychedelia. [3.5/5]
‘They Sold My Home To Build a Skyscraper’: This song has quite a bossa nova style; it sounds very upbeat, considering there is a great deal of sadness throughout its lyricism. It’s as though it is actively choosing happiness. [3.5/5]
‘Peace Signs’: A hard-hitting track, the repetition of banging on keyboards and drums mimics a take-off sound, contrasted with Gruff’s sweet-sounding voice that adds an element of calmness to the somewhat heavy instrumentation. [3/5]
‘Cover Up The Cover Up’: Easily one of the most well-structured songs on the album. It builds up beautifully and uses a call and response in the chorus, which is one of the LP’s highlights. [5/5]
‘I Tendered My Resignation’: Too tranquil for words. We hear the most delicate version of Gruff’s voice throughout the whole record. [4/5]
‘I’ll Keep Singing’: Given that the whole album reflects finding freedom in sad music, ending on such an upbeat and positive number about continuing to sing sounds like a real release. The volume of the song and its emphasis as a full stop is almost gospel-like. Faultless. [5/5]
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