Guillemots (or more accurately, gUiLLeMoTs) are a British indie band that formed in late 2004; fronted by singer and classically trained musician Fyfe Dangerfield, the band's lineup consisted of MC Lord Magrão, Aristazabal Hawkes, and Greig Stewart. Their diverse backgrounds contributed to the band's sound, blending indie rock, jazz and pop. Their debut album, Through the Windowpane, released in July 2006, was a culmination of their early work and explorations in sound and was shortlisted for the 2006 Mercury Prize.
Through the Windowpane is an album characterised by its variety and richness. Tracks like ‘Little Bear’ and ‘Redwings’ showcase the band's capacity for creating intimate, emotionally resonant ballads. In contrast, songs like ‘Trains to Brazil’ and ‘Made-Up Lovesong #43’ demonstrate their ability to produce upbeat, rhythmically driven pieces, reflecting the band's versatility and range.
The album closes with ‘Sao Paulo’, another Brazil reference1, and at over 11 minutes it a bold and complex song that contains multitudes. It is a song which nimbly wears an almost swaggering ambition but discreetly. More than any song we’ve covered here, it even starts with an ending. I defy anyone listening to the opening few seconds not to imagine they could be the closing few seconds of this or any album.
Its ambitious scope contrasts with the album's more concise and radio-friendly tracks, demonstrating a commitment to artistic expression and giving in to those jazz tendencies. That sombre and reflective piano melody sets a contemplative tone at the very start of the close, giving us a tone of finality and reflection before we go anywhere. As the song progresses, it unfolds into a rich and multifaceted journey, showcasing a deft handling of complex arrangements and their flair for dramatic composition.
Instrumentally, ‘Sao Paulo’ is kaleidoscopic. It has a kitchen sink approach without sounding like the band are going all in on this hand. The piano, played with a gentle touch by Dangerfield, remains a constant throughout the piece, providing a grounding element amidst the evolving musical landscape. The addition of Hawkes' upright bass infuses the track with a warm, resonant depth. At the same time, MC Lord Magrão's guitar work and use of unconventional instruments add layers of texture and intrigue.
Greig Stewart's percussion weaves through the track with a lightness. The drumming does not overpower but rather complements the other elements. As the track builds, the introduction of strings and brass creates a sense of grandeur, transforming the song into an orchestral piece that pushes outside the boundaries of indie rock.
Lyrically, ‘Sao Paulo’ is both vivid and enigmatic. Dangerfield's lyrics paint a picture of a sprawling, vibrant city, but an undercurrent of introspection and longing runs through the words. The song’s narrative captures a moment of profound personal revelation or transformation, leaving enough ambiguity to invite various interpretations. As you would expect, with the song pushing into jazz, the music doesn’t follow a conventional verse-chorus format. Instead, it takes the listener on a journey through different musical movements. Each section of the song brings a new mood and texture, from the introspective opening to the more upbeat, rhythmically driven middle sections and finally to the climactic, euphoric, almost cinematic finale.
As the song approaches its climax, the interplay of instruments reaches a fever pitch, creating a rich, immersive soundscape. The climax is not just a crescendo of volume but an emotional peak, where all the song’s elements – the haunting piano, the resonant bass, the intricate percussion, and the lush orchestration – come together in a moment of musical alchemy with Dangerfield’s vocal fighting for attention among the qualified chaos.
‘Sao Paulo’ unfolds deliberately, each layer of instrumentation adding depth to the album’s rich tapestry of sound. This structured buildup reflects the album’s exploration of diverse emotional and musical themes, showcasing Guillemots' skill in weaving complexity into accessible melodies. The track is a testament to the band's collaborative spirit, each member's distinct musicality converging to bring the album to a close with a thoughtful resonance.
This is a final reminder that I will play some closing tracks at Blue Collar Club in Reading at 1100 on Sunday! Details here!
The Run Out Grooves Infinite Loops
The trains are to Brazil in that song as a reference to Jean Charles de Menezes, a Brazilian man killed by police officers earlier in 2005.
One of my favourite noughties albums, and a band who seem to have been criminally overlooked. Through The Windowpane is full of emotion and passion, and the closing track is the explosive culmination.