CD Review  

Rating 95%

reviewed by Simon Godfrey 

Cue multi-instrumentalist Julian Garner's latest release 'Your Good Self' which is the fourth solo album from the ex-Kick keyboardist and ex-Rook front man. Garner has enjoyed a sustained period of creativity that would make most songwriters weep into their hats. Over the years he has maintained a 'cottage industry' credo towards his output, preferring to play and write virtually all the music that has emerged from the Renrag Promotions website (www.renrag.co.uk). Originally hailing from London, Garner moved to the west-country a few years back and proceeded to master the complex art of classical guitar, build a studio, develop a promotions company and somewhere in all of this, produce some albums of exceptionally high song writing quality.

This latest album kicks (no pun intended) off with the 11 minute title track which explores a multitude of themes both lyrically and musically. This is by far the most ambitious track Garner has attempted and overall it is a fine ambassador for what is to come. The movements within the song are beautifully executed and flow in a similar way to that of Camel's 'The Snow Goose' and although a little dense sounding at times, leaves you with a feeling that you are walking hand in hand with a slab of pure quality.

'Feet Hit The Ground' follows in double quick time with a wash of synths followed by a staccato battery of strings which back some sublime acoustic guitar work. This track finds us on more familiar ground with a sound and arrangement that is more traditionally associated with Garner's 'signature sound'; a subtle blend of the best parts of XTC and Sting with a forward velocity that is unique to Garner's talent as an arranger. Lyrically, the song appears to confront the differences of one's dreams compared to their reality. A bold statement which displays a great attention to detail in both the content and the metering of the words.

'No Friend Of Mr Dream' is a gentle pouring forth of self doubt set in a backdrop of rolling tom toms and dreamy summertime chord work. Probably my least favourite of all the tracks upon the album that, unlike a lot of Garner's quieter moments, refused to shine under repeated plays. That said, there are some unusual and compelling sounds embedded within the core of the track and is worth a listen for the keyboard solo alone.

'Only Together' sees the guitar slice its way to the front. There is some nice interplay between the guitar and bass and the changes in pace between verse and chorus are always pleasantly unexpected. As ever, Garner's impeccable arrangements grant us glimpses into the body of the track and the song powers along in a similar fashion to bands like Big Star or 'Fragile' era Yes. Tight but loose.

Which brings us to 'Far Side Of The Earth'. Currently my favourite track on the album and cleverly punches a hole through the dense sound of the album as a whole. Here Garner drifts down a sonic river, one hand trailing in the water. Metaphor has always been a strong suit of Garner and it is perfectly executed in this song which brings out the best in both his love for unorthodox chords and melancholic melodies.

The pace rapidly quickens with 'Cryptic Love' a well controlled rocker that swings neatly between acoustic and electric guitar. No small feat when you consider that for much of Garner's career, his weapon of choice was a keyboard, and it’s a song that seals his claim to the title of multi instrumentalist extraordinaire. It must be said that one of the best parts of listening to a Julian Garner album is that there is always something new to discover each time you listen. In this instance, the subtly placed backing vocals find their way into your subconscious long before they are knowingly heard. A clever and rewarding song.

'Mind Racing' slips in under cover of a wonderful interplay between guitar and piano. There is a kind of stop/start feel to this tune which feels remarkably like the song breathing. Garner sings in hushed tones about the trouble of being one's own worst enemy. It is a theme that recurs again and again within this CD and appears to run like a thread through much of the lyrical content. I will however admit that this is a subjective observation but hey, try and find a review that isn't!

'Let The World Take Us Home' touches XTC territory again, soft but shot through with icy snatches of guitar that balance the warmth of the acoustic lines Garner weaves throughout the song. Initially this track didn't work for me but as ever, it opened up like a flower under repeated listening. A piece that rests open on it's its lyrical power and subtle arrangement.

Very little pause for thought is given before we hurtle headlong into 'Touching Distance', a solo acoustic blues workout which Garner belts as though his fingers were on fire. He snarls out the lyrics and his delivery reminded me of an unreleased Garner track (more in spirit than in sound) from the early solo days called 'Monday'. All flags waving despair, Garner laments an unseen what could have been.

Finally we arrive at 'Talisman In The Moon', sunning itself confidently at the end of the album. It's gentle introduction, full to the brim with droplets of melody and intent gives way to a beautiful tune that walks gently by the side Garner's now familiar flute-like voice which reaches for note after note with careful consideration. A fitting end to a finely honed, mature but above all, intelligent body of work.

It would be doing Julian Garner a disservice to label his music as progressive rock but it would be equally misleading to say that its roots were not bound up in the genre. Suffice to say, 'Your Good Self' occupies an interesting netherworld between the pop sensibilities of say, Difford and Tilbrook and the darker, more refined compositions of say, It Bites or even Roy Harper.