Rhubarb - The Julius Work Calendar
Label: Rhubarb Music
Release Date: 15/11/07
Rating: 
After self-releasing a score of albums, Richard Haswell took some time out - three years to be precise - to write the highly anticipated 'The Julius Work Calendar' under well-worn moniker Rhubarb. For those who are aware of Edinburgh based songwriter, the complex character expressed in this album will come as little surprise, but for those who have never heard of Rhubarb, the album may trace an uncomfortable journey that the ear is unprepared for. It isn't that the ten tracks are noise and discord; rather, the depth of sadness burrowing inward from each song demands an attention most are not willing to give.
Much like the acidic Bill Callahan in his 'Julius Caesar' or 'Wild Love' days, 'The Julius Work Calendar' seems intended to alienate the listener by forcing him or her to face that which is uncomfortable to face. Each song is lyrically highly personal, with sharp cuts of sound, and is accompanied by a particular brand of intimacy, though the intimacy of a murderer not a lover. The hypnotic beat that starts 'Forest Fear', and breaks open to a trash can rampage, resembles the pulse of a criminal building up to his moment of passion, while the steely acoustic guitar riff stabs sharply into the darkness emanated by Haswell's distorted voice. Like fellow sonic-masochist Callahan, Haswell often hides behind layers of effects, only coming to the fore in moments of warmth or confidence - like in 'Too Close To See' where the disarming gentleness of his voice is eventually corroded by a metallic reverb. The chorus becomes uplifting only when considered against the backdrop of ominous tones.
The familiar sounds instruments should make Haswell ignores; instruments are shredded, extended to their breaking point. Acoustic guitars become angular when they are not distorted, and jagged violins do not croon as they normally do - they screech like a dying animal. Haswell uses his instruments to confuse and amplify the failure of our expectations - so when they do play nice and fuzzy the results are glorious, like rain in a desert. There are some sunny spells that light up the landscape too, like in 'As If' and 'Perfect Parallel'.
Although probably not the masterpiece his fans had hoped for, Rhubarb has created a subtle record with the atmosphere of a storm. It is chaotic and brooding with flashes of incredible brilliance and loud bangs. The songs buffet the listener from one emotion to another, and it is all in the music, which creates a magical experience. A listener should be touched whilst in its presence, even if one is unsure of why.
Daniel Good
IS THIS MUSIC Review Dec 2007 - The Julius Work Calendar
Rating :
*****
The Julius Work Calendar is the new album from Edinburgh based musician Richard Haswell. This album, like all his previous efforts, has been recorded pretty much by himself on either 4 track, or on his laptop, which considering the range of sounds which he has created is
a very impressive feat.
On the opening song ‘Forest Fear’ he manages to evoke memories of ‘Dark Side of the Moon’ era Pink Floyd, with the rest of the album tending more towards the twisted folk of King Creosote and the more experimental side of James Yorkston.
The album’s fourth track is ‘Perfect Parallel’ a bruised ballad, which is followed by ‘Brick By Brick’ which, with its distorted and cracked vocals is the best track on the album. After this, the album takes a welcome instrumental break with ‘Boiler Room’, as if perfectly placed to let Haswell’s voice have a rest after ‘Brick By Brick’. The highlights from the remainder of the album are ‘52nd State’ which sounds a little bit like Rachel Steven’s ‘Some Girls’ (but in a good way), and ‘Lanterns’ which is heavily influenced by acoustic Led Zeppelin.
In short, this is one of the best and most varied albums that I have heard all year
Bryan Jessiman
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