Published on Feb 24, 2005
On the surface, it looks like Blackfield shouldn’t work because
of the disparity in its collaborators. It’s not quite the most
unusual thing I’ve ever heard, but the mixture of British
progressive rock instrumentalist Steven Wilson (the driving force
behind Porcupine Tree) and Israeli pop singer and peace activist
Aviv Geffen seems on paper to be an odd mix.
Sometimes, I rather like being wrong. Because Blackfield is a
dreamscape of an album, a rich interwoven tapestry of melody and
harmony that is at once ambitious and well executed. The sound is
somewhat reminiscent of Porcupine Tree, but with a very strong
folk-pop influence with heavy emphasis on minor keys; it sort of
reminds me of Duncan Sheik with a heavy progressive rock
influence.
The production is crystalline; not surprising, since Geffen and
Wilson produced the CD themselves, with help on the mastering side
of things by Alan Parsons-protégé Chris Blair at
Abbey Road Studios. Strings are provided by the Illusion Quartet
and add a wonderful depth on tracks like “Open Mind” and “Lullaby,”
but are neatly countered by the more stripped down sound of “Pain”
— which could, if one wasn’t listening too closely, remind you a
bit of alternative metal like Staind — and the funky
percussion-driven sound of “Scars.” Blackfield manages to touch on
several genres and sounds without every being limited by them, a
mistake way too many progressive rock-influenced acts make.
Other tracks to take note of include the acoustic “Cloudy Now,”
with what I sweartagod is steel guitar in the intro; the goth
carnival darkness of “Hole In Me”; the grand triumphant close of
the CD, “Hello”; and my favorite, the chilling title track. I was
hooked on “Blackfield” — the aforementioned title track — from
the first time I heard the simple twelve-note piano intro. Powerful
stuff.
Blackfield has created music that at once defines and transcends
genre, class, and style. It’s challenging listening at times, but
well worth it.