Indeed, Jupp’s exit signals a new chapter in Elbow’s storied career, and his absence has offered the band more flexibility and freedom than ever before in experimenting with different, drum machine driven percussion patterns, as evidenced across Little Fictions’ ten songs.ĭespite the sonic implications of the leaner lineup, however, Little Fictions remains a signature Elbow record, bolstered by the juxtaposition of Garvey’s masterful, contemplative songwriting with sweeping, shimmering arrangements that provokes the mind, emboldens the heart, and ultimately, restores the soul. Produced by the band’s Craig Potter, Little Fictions also represents the first album the group has recorded as a quartet, as long-time drummer Richard Jupp departed in March of last year. This past Friday, Elbow unveiled their seventh studio album Little Fictions, the much-anticipated follow-up to 2014’s The Take Off and Landing of Everything and frontman Guy Garvey’s 2015 debut solo effort Courting the Squall. All six of their LPs to date are excellent, inspired fare, and together form one of the most impressive and consistently rewarding discographies of the 21st century, with 2005’s Leaders of the Free World being my personal favorite. Across the band’s prolific recorded repertoire, nothing even remotely approaches mediocrity. This is largely due to the albums’ unparalleled quality and staying power, which demand that listeners keep them in heavy rotation for months, even years, after their official release dates. Although Elbow have released a new album roughly every three years since their Mercury Prize nominated 2001 debut Asleep in the Back, the time between each of their long players always seems much shorter than this.
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