Brillig

Album Title: The Red Coats
Artist: Brillig
Reviewers Name: Derek Nicoletto
Rating: 5 stars (out of 5)
Published on: Review You (and sent in this form directly to Brillig)

Review
“The Red Coats” is akin to a two-act classic musical play one would have experienced in the glory days of the West End or on pre-Disney-fied Broadway. A thrilling, decorative period piece, the story and its characters never venture into hoke-iness. Each song swirls with legends and fairy tales. Literally, the first song, “Death by Sea,” begins, “This is how the story starts...” It continues with well-timed handclaps, gorgeous strings and the immediately delivery of the message that Brillig knows how to paint a picture, tell a story and make us want more. One believes them when they sing, “I’ll be your companion, tomorrow.” Brillig is all about excellent suspension of disbelief.

Brillig knows who they are and they know how to portray themselves to the listener. My professional-grade headphones were whipped out by the third song in an effort not to miss all the nuances and details in the production. Mixed to perfection and mastered beautifully, these multi-instrumentalists flourished each song with mandolins, strings and harpsichords, co-ed vocal harmonies to complement your typical band instrumentation. I could hear the folksier side of The Decemberists, for sure, without any of the popular influence or transparent attempt at commercial appeal. Brillig doesn’t need it.

The title track, “The Red Coats,” shows Brillig can flex muscles of anticipation and release within phrases. They build their characters completely without flirting with charicature. With all this orchestration, it’s hard to believe it’s a four-piece band, one that must be thrilling to hear live.

“Bird from Ashes” tells the story of poor Nelly Jones. Elizabeth Reid makes you believe you are watching Nelly’s story unfold on a stage, with a live orchestra and even, for kicks, a 3-D light show. There seems to be something unexpected coming from every angle in this songs.

“Assorted Fate” is an account of songwriting voyeurism. Matt Swayne invites us to watch him craft his tune as he wrestles with its delicate parts. Truly, this album seems like it must have taken forever to make, there are so many intentional, intelligent details in every corner.

A musical play’s strongest call to action always occurs at the beginning of the Second Act. “The Red Coats” is no exception. After the literally entitled, “Intermission,” “Absinthe Makes the Heart Grow Fonder” regroups the audience, for a “general measure into an old fashioned glass.” “Absinthe” would have hit a Top 40 pop chart in the ‘60’s for certain. With all its yearning, pun, and melancholy, it’s got the non-abrasive element of strength that popular music somehow lost somewhere in the 1970’s. “Springtime in Kyoto” is similarly appealing; the best of the Mamas and the Papas coming to mind.

“Phantom’s Theme,” with its Pink Floyd-inspired chord choices announces the nearing end to our adventure. Again, props to Elizabeth Reid and her vocal control. Rarely do female singers venture into the lowest caverns of their range; even less frequently can they do it as well as she.

“The Red Coats” ends with “Emily of the Grace,” a gentle yet anthemic piece, as epic as the album it serves to conclude.

Review by Derek Nicoletto

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