PETER LACEY ~ SONGS FROM A LOFT

Next up, is PETER LACEY with his next chapter chronicling his love affair with BRIAN WILSON called Songs From A Loft. Containing compliments from Paul Williams (of Crawdaddy fame - high praise indeed!) in its liner notes, Songs From A Loft is everything you would demand from a Wilson acolyte. Blessed with a lovely voice that rests easily in the upper register (reminiscent of the late great Carl Wilson), textural arrangements and songs that recall the mid-60s BEACH BOYS, Songs From A Loft is an essential collection for all lovers of great BEACH BOYS-inspired music.

Reviewed in Fufkin by Kevin Mathews, SINGAPORE

Elegance, style and beauty, in addition, melancholy are attributes, which distinguished and constituted the past three albums of the Englishman PETER LACEY. Also its current work Songs From A Loft does not deviate in this connection. Here and there only a small extension of the sound spectrum is to be constituted. In 'Sunrise' PETER LACEY leaves dezent something Reggae to flow. 'Curios' is as volatile and entrueckt as none its songs. 'The Outermost Inn' would make itself good as track of sound of film. And 'Orient Tear' surprises with a prize exotic easy listening. 'Lo-Fi-Rear-Fly' sounds like a small side blow to the own low fi produktionweise and to the reproach of the critics in this connection. Lovers of artists such as BRIAN WILSON, the late XTC, LOUIS PHILIPPE or SCOTT WALKER may look forward naturally still to the album.

Reviewed at Swiss Records by Robert Pally, SWITZERLAND

Listened to this album several time now, and I have to admit it don't half put a warm smile on yer face! With a slight hint of BRIAN WILSON, Lacey has a cock on grasp of the perfect pop song. When I say pop song, I don't mean most of the cack that's classed as pop these days. A hint of sepia runs throughout the songs as you're kind of taken back to a time when songs actually meant something, and conveyed that. It's actually quite surprising how many signs show the direction from which Lacey has come on this delightfully melodic and surprising landscape. Both the opening song, 'Sandman (Of The Southern Shores)' and 'More Than Wonderful' both (indeed, a lot of the songs) contain strong elements from the BRIAN WILSON book of songwriting. Fifteen tracks that contain some really beautiful music and imagery. Sounds twee, but this is a lovely album.

Reviewed in Modern Dance by Dave W Hughes, UK

Following BRIAN WILSON's creative rebirth at the hands of THE WONDERMINTS and their Frankenstein-like pals, BEACH BOYS comparisons are now rife in the music press - overused and bandied about to the point where they now fit anything containing the merest sniff of a massed vocal harmony or a stabbed organ/bass combo. In short, like "Beatlesque" and "psychedelic" before them, they've become rather meaningless and possibly even something to be avoided by those seeking true baroque 'n' roll thrills. So it's probably not wise for me to liken Songs From A Loft to some of the more pastoral and electronic moments of early '70s BEACH BOYS albums Surf's Up and Holland really is it?

Recorded in the charming sounding environs of The loft, World's End, West Sussex (Does that county still exist? And what the hell happened to Avon anyway?) and seemingly almost entirely the work of Mr Lacey, this is an album of gentle multi-layered keyboards, plodding minor seventh chords and, er, massed vocal harmonies. What it lacks in dynamics it more than makes up for in sheer texture of musicality. On 'Wally Thomas' Lacey could be ANDY PARTRIDGE tackling an early RANDY NEWMAN out-take while 'Sunrise' smacks of mid-'70s McCartney as rendered by a less contrived latter day TEARS FOR FEARS. Well worth investigating for those who like their pop with a whole heap of chords and instrumentation but not too much volume.

Reviewed in Shindig! by Andy Morten, UK

Puta that give birth! Review does not have another way to start this. Why, on behalf of God, in Brazil she does not appear people thus? Why we cannot have musicians who record something so bacana for a small label with so few resources? If we export football players, definitively the English we export musicians. PETER LACEY is a stranger also for there and I ask the reason. Songs From A Loft would make to corar any Brazilian musician who if dares to consider pop. It wants to see the influences of the youngster? BEATLES, BEACH BOYS, with arrangements that they remember in some time STYLE COUNCIL (will be that Peter will go to pardon me therefore), TALK TALK and vocal with pitada of TEARS FOR FEARS.

The record opens in 'Sandman (Of The Southern Shores)' with the soft voice of Peter folloied of líndos arrangements of flugelhorn and trumpet of John Williams. The beauty continues with 'More Than Wonderful' and falls in the dilacerante 'The Saddest Night (In The World)', with pitadas of PAUL WELLER in it's years of STYLE COUNCIL. 'Sunrise' is one reggae very classudo, as well as excessively musics. This without counting the eastern beauty of 'Eastern Sewing Press'. Lacey knew to explore the best one of pop English and American of years 60.

It's musics are slow, with the piano being the bed of everything and with arrangements very elaborated, as of the TALK TALK. It does not matter if PETER LACEY will go to touch or to be known, but yes the beauty of its workmanship and the peace that it transmits, folloied of Jon Fielder in the piano and John Williams in trumpete and flugelhorn. It has much time I I did not hear a so pleasant record. Plus a ball inside of the Pink Hedgehog, of Simon and the proper Peter.

Reviewed at Mofo by Rubens Leme Da Costa, BRAZIL

As accomplished, lush, and appealing, and arguably even more fully self-contained, Anderida was not as texturally cohesive as PETER LACEY's prior two albums, mainly because, now in greater control of his artistry, the singer/songwriter took more stylistic and compositional turns, experimenting with synth orchestrations, liturgical a cappella sections, down-home gospel/blues intonations, and lilting music hall whimsy. In that regard, it was something of a transitional effort, but the album's range of musical exploration handsomely paid off in this masterful fourth chapter in Lacey's ongoing excavation of landscapes material, emotional, and spiritual. Songs From A Loft is every bit the snow globe of an album its older siblings were: lovely and cloistered, a world preserved in amber, one that resembles in all regards yet remains hauntingly distinct from your own. In retrospect, like the English Romantic pre-Impressionist J.M.W. Turner, there has always been in Lacey's music something of the artist painting the light obsessively over and over again, with each canvas coming closer to his vision of its ethereal properties and aesthetic quirks. That still exists here, but Songs From A Loft is a breakthrough.

The album has all the easy, tuneful charm of Lacey's earlier albums, sure, with the risk-taking of Anderida; but for the first time, it seems pale to describe this wonderful build up of brush strokes as pop music, and is only so in the same way that, say, NICK DRAKE's Bryter Layter can be characterized as such. Finally, all his old (and some new) influences are so fluidly integrated that it would be diminishment to Lacey's own acumen and proficiency to reference them. And, improbable as it seems considering the quality of his prior work, the songwriting is even richer and more mysterious, both in its emotional and melodic vicissitudes. Song after song here has an abstract, almost art-song quality, from the gentle Odyssean hello of 'Sandman' and his characteristically delicate piano balladry ('More Than Wonderful', 'Sunrise' to fantastic mood pieces like 'The Outermost Inn' and 'River Round', yet each flows organically. The melodies throughout find their own unorthodox paths and directions, unwinding at measured paces and according to often complex (though always accessible) longitudes, while Lacey gives a multifaceted vocal performance and the production has a finish far more deep-cured, cozy, and surprising than any of its predecessors. Magnificent. It soars.

Reviewed in All Music Guide by Stanton Swihart, USA

PETER LACEY's music is characterised by thoughtful and subtle arrangements and a distinctive and almost angelic voice, the whole atmosphere created in tune with the natural and romantic side of life. He plays most of the instruments himself with John Williams adding flugelhorn and trumpet on the opener 'Sandman' and 'The Outermost Inn'. The CD starts very reflectively and the first thing to really grab your ears is the infectious up tempo number 'Sunrise'. 'Curios' is a lovely ode to time, very poetic containing some interesting metaphors like "a soulless king" and "a heartless thief" with Peter on guitar accompanied by Jon Fielder, ex JADE WARRIOR on keyboards.

The "lighter than air" instrumental cameo 'The Outermost Inn' is as enchanting as the bird in flight depicted on the cover. A wide array of instruments is used on the aptly named 'Orient Tear' as the album comes across as a series of "sketches" pervaded by a magical, mystical quality. Comparisons with BRIAN WILSON and THE BEACH BOYS are taken too far but on the intriguing 'River Road' the arrangements is every bit as meticulous as anything on Pet Sounds. There is a curiously poignant song about a certain Wally Thomas in 1944 with the chilling line "Over a tightrope above the fires of madness" and there are lots of nice "finishing touches" on the CD including a haunting string arrangement by Fielder on 'The Old Hand'. Songs From A Loft would be great music for listening to sitting by a blazing log fire on a cold winter's night and like all PETER LACEY's music comes highly recommended.

Reviewed in Zeitgeist by Phil Jackson, UK

Songs From A Loft is PETER LACEY's latest album, and also the latest release from Pink Hedgehog. Fans of his previous albums shouldn't be disappointed with this. 'Sandman (Of The Southern Shores)' is a delightfully summery slice of harmony pop. 'More Than Wonderful' is a must for BEACH BOYS fans. 'Curios' is excellent imaginative chamber pop. 'Orient Tear' is an atmospheric mix of Eastern music, new age and experimental music. 'River Round' combines elements of ethereal psych-pop and summery harmony pop in an inventive fashion. Lo-Fi-Hi-Fly is a predominantly instrumental track with lots of psych-rock guitar soloing. Another impressive album from this truly creative artist.

Reviewed in Aquamarine by Kim Harten, UK

2005 release from England. As with his previous efforts, Lacey visits the pastoral, peaceful places of the most beautiful and simple BRIAN WILSON obsessed rooms. With a gathering of stunning, achingly beautiful vocal harmonies (think Surf`s Up and Sunflower), and the fresh scent of homespun pop excursions, all held together wonderfully by the undertow of warm BEACH BOYS inspired spirit. You`ll hear some PEARLFISHERS in the mix too, as Lacey brings the updated baroque sounds of the past into the present. Very highly recommended!

Reviewed at Not Lame by Bruce Brodeen, USA

PETER LACEY's new cd, Songs From A Loft captures that part of me that curls up in front of a Montana fireplace on a cold winter night with some Kahlua and a good friend. It's a album which brings out memories and feelings of intimacy and peace. Several songs have a feeling of being handcrafted in a manner in which the first PAUL McCARTNEY solo album is done, or like Smiley Smile without the juvenile silliness. The whole album exudes a warmth which gives it a homemade feel without being primitive. 'Sunrise', 'More Than Wonderful', and 'Sandman' will be welcome revelations to those who love beautiful melody, well crafted production, and vocals done with care and warmth. Friends I played the album for were reminded of BRIAN WILSON types of chord changes. 'The Outermost Inn' is a striking instrumental interlude which took me to memories of galloping at full stride on horseback on a spring morning. It is beautiful in the manner of 'Lets Go Away For A While' on Pet Sounds.

There are small gems which bring a feeling of mood, such as 'Orient Tear', and surprises like 'River Round' which create a feeling of modular production reminscent of 'Rio Grande' or 'Been Way Too Long'. Truly a creative wonder this... 'Wally Thomas' returns to a sort of McCartney-esque period type of work capturing days gone by which can never be relived, only remembered. 'Lo-Fi-Hi-Fly' is another instrumental interlude which charms and brings some English Soul in a BOOKER T meets 10CC manner. The gorgeous 'The Old Haunt', 'The Garden Of Sleep', and 'To Summer Eyes' bring a wistful and sad, yet beautifully intimate picture of love gone wrong yet fondly remembered. In many ways, Peter has combined the intimacy of an album like Smiley Smile with the wistfulness and spirituality of a Pet Sounds. This is an album to play and replay, allowing it to seep into your soul like a late winter snow just before spring emerges triumphant and hope is renewed.

Reviewed at The Smile Shop by Peter Reum, USA

"Window on a World Apart" - Peter Lacey's Latest Triumph
By John Lane

This time, dear reader, please let us skip the allusive detours to Hawthorne, California or Liverpool, England. Instead let us rush headlong to the soothing environs of West Sussex, where the musical artisan, PETER LACEY, has fashioned his latest triumph, Songs From A Loft (Pink Hedgehog Records). His 4th creation stands as a stunning demarcation point between the present and everything that has gone before; Lacey has sonically reinvented himself, surprising the long-term fans who thought they had the Lacey-style pinned down. For sure, the listener does receive the reassuring goodies that we've come to expect: the gilded harmonies brushing the ultra-smooth 'Sandman (Of The Southern Shores)' coupled with the heart-grabbing signature lilt that ends certain lines. This piece, to my ears, feels as close to a self-portrait of the artist as we'll ever get. And here's the curveball: although this album is most definitely contemporary, it has an air of antique mystery. The poignant 'Curios' appears to have Platonic underpinnings, invoking images of "shadow", "dust" and "spirit", while its musical latticework is oddly baroque.

Its instrumental counterpart seems to be 'Orient Tear', with string & woodwind work that moves Mt. Fuji to the West. Still think you know PETER LACEY, after being lulled by an Eastern-tinged wordless lullaby? Then I refer you to the funky 'The Finishing Touch' - wait, "Peter Lacey" and "funky" in the same breath? Yes! There's enough self-assured grit and drive in this guitar-pumped tune to knock anybody down, and we've got a mischievous side heretofore never seen before:

Don't hesitate just jump in my car
Got a boot full of jumping jacks
And spray-paint canisters
We're gonna cook up some monkey business
We're gonna shake up the shameless

Sounds like fun! I'll go along for the ride and gladly pay for the beer, Peter! My vote for favorite track, in the end, goes to 'The Saddest Night (In The World)' - gentle, but incessant in its strident piano - undercut with a searing guitar solo that cuts open the wounds of unarticulated sorrows just a little deeper. Few artists can undertake the task of writing a decent depressing song in which the listener can actually find comfort - paradoxical, perhaps, but emotions aren't completely black and white, although the narrator finds himself "in the black and white". The shared understanding between us and the narrator is that we may find ourselves in a drab space, but we are not infinitely limited by it; the music bears that out. Hope peeks through, like a stubborn weed, even in the most hopeless of situations - that's a Lacey trademark. The cover image seems metaphorical to the whole venture - a hummingbird slaps its wings feverishly against the backdrop of a moon; while the world sleeps, PETER LACEY conjures up magical tunes in the sacred peace of his loft. When the world awakes, there are 15 little masterpieces resting on the nightstand. Go on, pick them up; they are yours.

Reviewed in Ear Candy by John Lane, USA

Brilliant new BRIAN WILSON/PEARLFISHERS/MELLO CADS California sunshine pop-inspired release by one of the best! Gorgeous harmonies, beautifully written songs and arrangements are the order of the day throughout this, his fourth release.

Reviewed for Kool Kat Musik by Ray Gianchetti, USA

Peter continues his bright and very rewarding journey into music from the heart for all of us seeking the stimulation and reassurance sincere and inspired musical exploration can bring. Bless him!

Written by Paul Williams, Crawdaddy, USA