QR Music Review: Noonday Dream - Ben Howard

Returning four years after the release of his second album I Forget Where We Were, Ben Howard is back to grace us with some elegant, inspiring tracks on his third LP, Noonday Dream, which was released on 1st June.

From the offset with album opener 'Nica Libres at Dusk', the change in Howard's music - lyrically, musically, and in terms of production - are evident. It shows a clear progression from his sophmore record, I Forget Where We Were, with the music taking a front seat whilst the lyrics act as a support. Although beginning with a slow build characterised by gentle guitar arpeggios as many of his earlier songs are, the track branches out to become so much more. Although often inspired by the surroundings of Cornwall, on this album and previously, the album's opener brings the listener further afield. Mentioning the Caribbean, Coladas, and eagles flying overhead, Howard skillfully paints a kaleidescope of sound that conjures up images of exploring a far-flung island.

However, this appears to be depicted as a dream, something the song's main charater is hoping for: "somewhere she dreams / somewhere she's dreaming / the Carribean / Nica Libres at dusk". These dream-like verses become seemingly drawn out, just like the Nica Libre cigars naming the song, proving the genius of Ben Howard in conjuring up the perfect tempo, musical style, and instrumentation to depict such a concept. Reinforcing this is a verse depicting a crisis situation: "door is locked / my gums are bleeding / outside she reads / outside she's reading / the evacuation procedure out loud", followed by a verse that is seemingly idyllic: "I order a Colada / and sit, count my dollars / and watch eagles soar in circles / perpetually".

The contrast illustrated here by Howard is reinforced musically by the soaring electric guitar, mimicking the eagles flying overhead; and is summarised through the song's long and dwindling outro. The outro seems to suggest that the dream, the idyllic wish held by the track's protagonist, somehow wins out against all odds of crisis. From this track, the main point to take away is that, aged 31, Ben Howard is no longer the same musician as the 24 year old who released the folk-rock, hook-heavy Every Kingdom. On Noonday Dream, Howard portrays the musical knowledge he has gained in the past 7 years, and shows that he is a serious musician to be contended with.

An album favourite for me is the third track, 'A Boat to an Island on the Wall' - the first track released from the record. Coming in at a whopping time of 7:10 - the longest track featured on the album - this particular song depicts Howard's full use of instrumentation. The eerie electric guitar whining the track open levels out to reinforce Howard's soft acoustic guitar. The electric, however, continues to chime in every so often; portraying a sudden gust of wind as the boat floats softly across to an island on the wall.

Throughout the song, the instrumental texture becomes more and more layered. This occurs skilfully, almost effortlessly, culminating half way through with the thundering of a cello every so often, supported by a twinkling synth that lifts the song higher. As the synth is joined by a distorted guitar, the listener has images of a boat rocking in the ocean unsteadily towards land. The song propels on further, with the music going full throttle, with no lyrics featured in the song's final two minutes. Musical unsteadiness is also depicted in 'The Defeat': a song that rocks and sways with Howard's lyrics, depicting another contrast, as the rocking music bounces against the lyrics explaining that "the world is always at ease, at ease, at ease".

An album filled with contrasts between crisis and calm, it seems only logical that the record should close with 'Murmurations.' Following an exploration through wilderness, exotic landscape, and tumbling emotions, it seems as though Howard has returned to a stillness in a place he feels comfortable with this track. The comfort is summarised by his noting of: "It's so peaceful here, no one to f*** it up". As the track continues, closing off Howard's triumphant third record, his voice becomes lost in the music - perfectly summarising the importance of instrumentation on this LP.

4/5

By Jane Corscadden