Mercury Rev - Deserter Songs (1998)

And right out of the blue came Mercury Rev. Nearly men, who had crafted several flawed albums, until the magical opus that was Deserter's Songs reared its delicately patterned head. Add this album to their unforgettable intimate live performances and Mercury Rev rightfully holds pride of place on the a-list of innovative artists. Boces, like many of Mercury Rev's previous albums, was full of brilliant half ideas. What it lacked in focus, it made up in energy. Like 'Something For Joey', a song that ran ragged for minutes exposing an unpolished sheen that suggested that greatness was close at hand. ’Deserters Songs' is a different proposition altogether, however. Where Mercury Rev once fumbled in the dark with their undoubted genius, they now provide the bright lights for an art form in serious need of reinvention.

'Holes' kicks off proceedings in reflective mode. Lacking a distinct beat, this song turns the blueprint for modern music on its head. Imagine floating high above the clouds while catching a glimpse of celestial beings practising for that great gig in the sky. The quality of instrumentation is quite staggering, but what is more surprising is the thought of four men in their late thirties, one called Grasshopper, dictating matters. With a vast array of instruments being introduced at close intervals throughout 'Deserter Songs' it's not surprising that some of the tunes sound otherworldly. Take 'Endlessly' for example. Could it be those Chamberlin Strings, them Woodwinds, the Wurlitzer, that Mellotron or perhaps the B3 (instrument of the century anyone) that makes it sound like it is the most refreshing song you've ever heard? Hard to judge really, but one thing is for sure once you've heard 'Endlessly', it will impose an indelible impression.

This is Mercury Rev's great gift. They make the most natural of musical decisions by choosing the most appropriate instrument available. These decisions breathe life into their ideas. So when you hear a female voice shadowing on the outskirts of the 'Hudson Line' it fits perfectly, like that elusive last piece of a jigsaw you uncovered by chance down the back of the couch. 'Goddess on a Hiway', the first single to be released off the album signalled Jonathan Donahue and chums intentions. With a lithesome piano intro, the tune extends its amiable nature to befriend all comers. Donahue's vocals vary between a matter-of-fact and a harmonious delivery while the sound swell fills in the blanks. At other times it perfectly paints the sun rising over a cool blue ocean.

’Deserter Songs' inspires the use of analogies. Simple chord descriptions simply wouldn't do the album justice. 'Tonite It Shows' captures the scene where you're beneath the stars with your loved one and the world for a second becomes you're oyster, the moon you’re pearly gift. This is mood-enhancing stuff with Donahue’s vocals sounding vulnerable and affecting. 'Deserter Songs' is much more than a collection of instruments and people making a sound. The album paints a sea of innovative strokes with ideas strewn colourfully like fish in an aquatic collectors tank. Subtlety becomes an art form; grandiose enters the alternative arena and old men weep at the beauty of it all. It is the best Christmas album ever made such is its wide-eyed approach. At the end the listener is left with 'Delta Sun Bottleneck Stomp' to wash away all the pent up emotions, leaving us dizzy and ready to begin the adventure all over again. 'Deserter Songs' is an album to dance to, an album to cry to, an album to make love to and most off all an album to live life by. Not an adventure of a lifetime then, more one you can take every three-quarters of an hour.

Rating: 9/10

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