Until now Richard Skelton has produced some decent, but problematic, neo-classical works. His previous records as A Broken Consort, as well as those under his own name, were mournful and heartfelt, but they were also somewhat generic. In a field saddled by too much of the same, it was hard to feel overly passionately about Skelton's work. "Landings," on the other hand, is a different story entirely.
Composed over a period of four years, "Landings," is Skelton's most mature and expansive record to date. Mixing strings, acoustic guitar and shimmering drones, Skelton crafts songs that individually astonish, while simultaneously create a massive and flawless whole.
"Landings" begins with the familiar Skelton sound of bowed and plucked strings on "Noon Hill Wood." A circular string pattern plays throughout the piece which is as mournful as anything Skelton has released, but unlike his past efforts there is an added spaciousness and depth to the song that is downright haunting. "Scar Tissue" features a gentle, but no less haunting, acoustic guitar over subtle strings and field recordings of birds. It is a memorable little interlude that harkens to Loren Conners' best work and announces early on that this isn't going to be just another Skelton recording. "Threads Across the River" further emphasis that Skelton is seeking to expand his palette with greater variation. Although string based, "Threads" weaves drone after drone until building itself toward a denouement worthy of Henryk Gorecki or Arvo Part. "Greens Within Brook" follows with a shimmering drone that introduces a bit of color into Skelton's gray-scale canvas. Throughout the albums 12 masterful songs Skelton continues to mix strings, drones and effects in different but equally effective variations.
It isn't just Skelton's willingness to incorporate a variety of arrangements and elements that sets "Landings" apart, there is also a naturalistic feel running throughout the album that further enhances the work. "Landings" invokes a cool dimly-lit wood where fog hovers above dark damp leaf covered soil. That earthiness makes for a rawer sound than similarly situated modern compositions, and adds to the richness of Skelton's work.
It's sort of a shame that this album came out at the end of last year, since technically I can't list it on my year-end list of 2010, because this is by far the best album I have heard in the new year. If you have tried Skelton before and were left underwhelmed, "Landings" will change your mind, and if you have never heard Skelton's work before, this is the place to start.
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