Nick Drake - Bryter Layter (1970)

Nick Drake's second album followed in the comet trail left by his wondrous debut 'Five Leaves Left'. Released in 1970 it shows little sign of ageing and despite being name dropped by all and sundry it largely remains an undiscovered classic. For students of the Belle & Sebastian school of melodic folk there is a seam of material awaiting you from this sadly underachieving (in his lifetime anyway) soul. With Drake's extraordinary predication for not telling things as they are the opening cut is dutifully named 'Introduction'. And what a majestic beginning it is too. The orchestration is as pretty as is imaginable being ably directed by Richard Kirby who was responsible for all the lush arrangements on the album. Bryter Layter reveals a large quotient of instrumentals, yet their presence ups rather than slows down the ante.

For such a supposed recluse it seems that Drake had little difficulty on counting on help from his contemporaries. For most tracks the acclaimed Richard Thompson fiddles about on guitar while the enigmatic John Cale (the Velvet Underground) adds in piano, organ and celeste asides. Drakes oft conveyed world-weariness is beautifully coloured by the jaunty playing. You'll find 'Hazy Jane 11' on 'Way To Blue' (a compilation) so its fluid escapades will hardly be new but that's not to say that they aren't welcome. The Van Morrison type trumpet fest shadows the bouncy percussion and Drake delivers a hearty attempt at vocal hopscotch. 'At The Chime Of A City Clock' is decorated with vast string arrangements and brass appendages that recall late night police dramas. It has a hushed demeanour that is hard to qualify at first; a few listens are required to see through the surface fog.

An unusually guarded soul not all that willing to directly open his soul, Nick Drake often paints landscapes and similes to get his message across. On 'One Of These Things First' we get as close as we're going to get to Drake's troubled interior. As he ponders how he arrived at where he is, he considers whether other roads could have changed the man he turned out to be. Of course this interpretation is subjective but it is revealing to listen to the words sans the wonderful cascading piano accompaniment. Like most prequels 'Hazey Jane 1' lays the groundwork for the follow up dramas. Operating at the speed of a kite it meanders over a foundation of acousticism and swooping arrangements. At times the orchestral manoeuvres resemble a long forgotten standard but I can't put my finger on it. As soothing as an everlasting cough sweet.

The title tracks instrumental forays perfectly conveys the seventies, all prim and proper, imagine wandering around London in an ill fitting tweed jacket and beat up brown leather clogs without feeling in the slightest bit embarrassed. The flute playing is exquisite like Jethro Toll himself had dropped in to add his bleak midwinterish two-penny's worth. As you try to disseminate 'Fly' you can almost hear Drake struggling to come up with a fresh idea. As the motley ensemble of instruments and vocas finally settles on a singular path it sounds like a celestial apparition. Naive and gloriously enjoyable for this reason alone. As is Drake's want 'Poor Boy' turns out to be a funky gospel jazz hybrid. Perfect music for an over indulging party of pretentious twits bloated on caviar and Ferrero Rocher. While this may sound like ordinary folk like you and me should avoid it then you'd be right. It's pretty naff, out of context among the surrounding beauty, like a chip van parked near a pyramid.

Order is restored instantly with the breezy effervescence of 'Northern Sky'. Shuffling as shyly towards your mind as a bear cub yet possessing more allure than 101 Dalmatians this is the sound of a small waterfall on a cool winter morning. The celeste adds a mystical quality as Drake comes across as the heroic hobbit. Buy the album and become part of his Fellowship. There is something frightening yet alluring about the flute playing that opens the instrumental and closing track 'Sunday'. Conjuring images of being lost on a windswept and lonely mountain the scene is somewhat arrested as the song fills out with the emergence of an ensemble of acoustic guitars and violins. By the end of a hectic journey a bath of goats milk is somewhat spoiled by its lactic disposition. Oh I don't know what I'm talking about either it's just the effect that such spectral music can have on ones imagination.

'Bryter Layter' is surprisingly short, the experience seems to end mid climax. That said for the time it takes to play there are more adventurous directions that your likely to find on most albums. The atmosphere is detached yet alluring, the playing is highly accomplished and the lyrics are intelligent and thoughtful. Little short of a classic then, don't waste any time, your CD player needs a good recalibration.

Rating: 8.5/10

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