Well in Ot­ley

Yorkshire Post - Culture & The Guide - - MUSIC -

it was a fu­sion of all dif­fer­ent gen­res from around the world. It was about dis­obey­ing rules. It was about rip­ping up the rule­book, and do­ing that whole busi­ness cliché of think­ing out­side of the box – bring­ing things to­gether that did not be­long to­gether.”

For Andy, the is­sue runs much deeper than the genre’s im­age – it’s about the gen­eral pub­lic’s at­ti­tude to­wards mu­sic it­self. “Peo­ple can get quite in­dig­nant about com­mit­ting to a piece of mu­sic if it’s 20 min­utes long,” ex­plains Andy.

“I try to make mu­sic that you can im­merse your­self in. So much mu­sic to­day is just the back­ground to some­thing else – you might lis­ten to the ra­dio while you’re do­ing the wash­ing up, or it’s on the sound­track to a videogame – I like the pu­rity of mu­sic that doesn’t need any­thing else.”

Andy also be­lieves that the pro­lif­er­a­tion of ac­cess to mu­sic is a dou­ble-edged sword. In one re­spect it gives users ac­cess to al­most any piece of mu­sic they can think of within mo­ments, and in an­other, mak­ing the mu­sic more tran­si­tory and of less value – that if it doesn’t grab you im­me­di­ately, it’s easy to skip on to the next track.

“I used to work in Harry Rams­den’s fish and chip shop af­ter I left school, and I used to save my money up to buy records,” Andy re­calls.

“I re­mem­ber buy­ing The Lies Down on Broad­way by Ge­n­e­sis, which is one of the most in­volved pieces of mu­sic they ever did. It cost me £4.25 – which is a se­ri­ous amount of money for a kid work­ing in Harry Rams­den’s dur­ing his hol­i­days. I brought it home and I didn’t like it all – I felt like I’d wasted all of my pocket money. So there was only one so­lu­tion – learn to like it.

“So I played it and played it and even­tu­ally fell in love with it, and 40 years later I still know ev­ery note – that’s a kind of value I feel a lot of peo­ple to­day won’t get.”

As well as be­ing pas­sion­ate about prog rock, Andy cham­pi­ons York­shire. As a mu­si­cian who has trav­elled the world, this is still his favourite place.

“I’m a proud York­shire­man and al­ways have been. But in par­tic­u­lar, I’m a Wharfedale per­son – I just love this val­ley. To me it’s like this grand al­bum that I’ve known all my life. I know where all the roads go to get me to my favourite places.

“There’s a par­tic­u­lar seat on Beam­s­ley Bea­con where I go and sit and write my mu­sic and just switch off.

“It’s my favourite view across Wharfedale – you can see ev­ery­thing – you can see towns, reser­voirs, hills, Bolton Abbey, you can hear steam trains whistling in the dis­tance. It’s an absolutely glo­ri­ous place to be.”

Le Sacre Du Tra­vail is re­leased on June 24 through In­sid­eOut records, or can be pre-or­dered at www. thetan­gent.org

When Liam Gal­lagher, Andy Bell, Gem Archer and Chris Shar­rock formed Beady Eye – Oasis with­out Noel Gal­lagher – it’s fair to say that few ex­pected much from them. Low as they might have been, their 2011 de­but of­fer­ing Dif­fer­ent Gear, Still Speed­ing ex­ceeded ex­pec­ta­tions and went on to sell just un­der a mil­lion copies. For this sec­ond al­bum, hopes are ever-so-slightly higher, and once again, Gal­lagher Jr has pulled it out of the bag. Sin­gles Flick of the Fin­ger and Sec­ond Bite of the Ap­ple are among the stand­outs. For now, it’ll do nicely.

This timely com­pi­la­tion re­minds us just what a spe­cial tal­ent Nor­we­gian singer­song­writer Ane Brun is. This dou­ble-CD ret­ro­spec­tive gives an ex­cel­lent over­view of the 37-year-old’s ca­reer to date. Songs 2003-2013 opens with the be­witch­ing Hum­ming One of Your Songs, al­though Brun’s cover of Cyndi Lau­per’s True Col­ors also im­presses. But it is two of her col­lab­o­ra­tions which prove the most mes­meris­ing: firstly, Song No. 6, fea­tur­ing Cana­dian singer­song­writer Ron Sex­smith, and se­condly, a mag­nif­i­cent duet with Peter Gabriel on his own Don’t Give Up. Lis­ten­ers look­ing for es­o­teric mu­sic which strikes a chord need look no fur­ther.

“You were good, you were good and you were gone.” Plenty of lis­ten­ers might have as­sumed that was Jimmy Eat World’s fate, but here’s front­man Jim Ad­kins singing those words on the clos­ing track of their new al­bum. A re­minder of pre­vi­ous al­bums Clar­ity or Bleed Amer­i­can was al­ways highly un­likely and so it proves, though the chim­ing gui­tars are still present and I Will Steal You Back most closely re­calls the glory days. The best mo­ments on Dam­age are the slow songs – You Were Good and the con­flicted Please Say No. Per­haps the time is right for a Jimmy Eat World acous­tic al­bum? Through­out a long ca­reer Valerie Tryon has been one of the UK’s finest pian­ists, her sparkling ac­count of Falla’s colour­ful pic­ture of Spain dis­play­ing her fin­gers danc­ing through the fi­nal pages that ooze with vir­tu­os­ity. A change to a strong and warm ap­proach to Franck’s Vari­a­tions con­trasts with the spicy har­monies of Tu­rina’s Rap­so­dia Sin­fon­ica. The Royal Phil­har­monic Orches­tra’s back­drop is of ripe tone colours, Tryon com­plet­ing the disc with three solo en­cores. Very good sound through­out.

ROCK LONGEVITY: Andy Til­li­son of The Tan­gent. The band’s sev­enth al­bum – their first con­cept al­bum – is out later this month.

NEW MU­SIC: Andy Til­li­son at work in the stu­dio. The Tan­gent’s new al­bum is LeSa­cre­duTra­vail.

Beady Eye – BE 88883721372 £14.99:

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