Rafael Anton Irisarri and Benoît Pioulard don’t convene too often to produce Orcas albums (this is their third in ten years), but on those occasions that they do, the time just drops away.
That heat-haze waver that threads throughout the album, the soft warmth of Benoît’s voice; an enunciated dreaminess that he shares with the long-lost Eric Matthews is all here as we would hope. Everything seems to shimmer as if heard through the clearest water and there is sedate sense of control that is struck with Ride-like explosions of shattered guitar splendour, showering over the lugubrious bass.
Interestingly, Slowdive‘s Simon Scott plays most of the drums, bringing jazzy inflexions to a rhythm section that always plays it crisp and clear as a counterpoint to the diffuse guitars and background treatments. When acoustic guitar is unveiled, as on “Riptide”, it walks a fine line between the structure of the rhythms and the gauzy textures. Simon’s inclusion does give some indication as to their direction, but this is music for slow walks on sandy beaches, Benoît’s golden croon ruffling your hair. The songs move slinkily, but those chunks of sunshine are a comfort; a real balm.
The jazzy hi-hat shuffle of “Bruise” propels its wall of sound with guitar notes appearing like stars in a gradually darkening sky; but closer “Umbra” sheds all pretence at a beat and, loosening its moorings, curls ever higher, accompanied by a voice that is cocooned in a whirlpool of texture.
How To Color A Thousand Mistakes is a real delight and is one that is quite a compelling journey because, although musically it is a slow, sensual collection, Benoît’s lyrics hint at complications and upheavals that use the song structures as safe harbours. There is plenty lurking below the surface that requires a few listens. This is a welcome return.-Mr Olivetti-
