Search - Felt :: Ignite The Seven Cannons

Can't stop listening

Jay Hagstrom | Chicago, IL USA | 09/13/2000

(5 out of 5 stars)

"I am writing this review to warn as many innocent people as I can: Felt IS ADDICTIVE! Seriously. I imagine that either you will not find this music interesting in the least, or you will become obsessed as I have. Since I got this release I have been unable to keep from listening to it for more than 3 days. I find it especially enjoyable while in the shower. Try it out and let me know what YOU think. Oh yeah, this record has a great cover! The bar code placement is a little different than other releases. The thumbnail image doesn't do the color justice. Pantone 5285 (my guess)."

Good, sometime great music

Colin R. Glassey | Bay Area, CA USA | 06/27/2000

(4 out of 5 stars)

"This album combines two records, Strange Idol Pattern from 1984, and Ignite the Seven Cannons from 1985. This music follows close on the heels of Felt's first and best work: The Splendour of Fear. Overall, the 1984 record (Strange Idol) works better than the 1985 record (where they replaced their original bass player M. Lloyd with keyboardist M. Duffy). As a single CD, the music and sequencing of the tracks don't make much sense (not surprising since the two records were just put one after the other, in reverse chronological order with the 1985 record first).Felt's music here is similar to the Speldour of Fear: lyrics that don't make much sense, vocals that are usually buried in the mix, and very strong sometime beautiful guitar work by Maurice Deebank. Some standout tracks are: Sempiternal Darkness, Spanish House, The Day the Rain Came Down, and Elegance of an Only Dream. Sadly, they also have some rather poor tracks like: Whirlpool Vision of Shame, Caspian See (their spelling, not mine), and Black Ship in the Harbor.Bottom line: enjoyable wierd music with some wonderful moments, worth more than one listen."

Ignore the naysayers, this is one of Felt's best albums

Lypo Suck | Hades, United States | 01/18/2008

(5 out of 5 stars)

"This album gets slighted a lot, and I don't fully understand why. The biggest single complaint seems to be Robyn Guthrie's heavy-handed production, which smothers Felt's songs in the Cocteau Twins' trademark ethereal, processed, chorus-laden sound. It seems a lot of people just don't dig this, which I suppose is understandable. However, I think it's easily one of Felt's very best albums, and I actually think Guthrie's atmospheric production works. Maybe it's because I'm a huge Cocteau Twins fan, but for me the production doesn't detract from what I see as Felt at a stunning creative peak.



Ignoring the production for a moment, the music here is first rate. From start to finish, the album is highly consistent. Lawrence and co. are becoming increasingly comfortable playing with more conventional pop forms, creating infectious and engaging hooks with apparent ease. Yet lead guitarist Deebank's dexterously melodic playing is as shimmering and awe-inspiring as ever, while smart and moody chord progressions keep the songs interesting and unpredictable. Crucial here is the addition of Martin Duffy, whose rich Hammond organ fills out the sound, often harmonizing with the guitars in a mesmerizing, sophisticated way. Guthrie's production actually squeezes everything together seamlessly into a swirling, gauzy blanket of atmosphere. But ultimately, the songs are strong enough to stand up to the wall-of-Guthrie sound without drowning in it.



Many people know this album's epic, mid-80s college radio hit "Primitive Painters," which features the soaring backing vocals of Cocteau Twins singer Liz Frazier. It's a great song, but doesn't fully represent the variety of moods - from brooding/dark to poppy/sparkling - found here. Frazier adds more subtle backing vocals to the energetic and dizzyingly melodic "The Day the Rain Came Down." That song is followed by a string of gloriously melodic pop tunes, rounding out the first half. The second half is heavier on the instrumentals, which vary from stormy and energized, to delicate and shimmering. All in all, a consistently gripping and adventurous album.



If you love Felt but can't stand the Cocteau Twins, I would suggest approaching this album with caution, while trying hard to keep an open mind.

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