Electrelane No Shouts, No Calls by: Mark Simms Mon:23-Apr-07 Label: Too Pure Year: 2007 WB rating 83 out of 100

“Way, way back, when we first started, we always had a lot of singing, but it never worked that well. When we did instrumental it was always more interesting. More completely, we felt like we were doing something good.”

Verity Susman, front-woman of Electrelane, said this a long time ago about their music – giving the impression that when combined, the singing and music of Electrelane don’t get along. In No Shouts, No Calls it is initially difficult to decide whether to agree or disagree with her statement, both the music and the singing each having such moments of transcendence that they should be the perfect match. While Verity’s voice is both versatile and alluring, the vocal highlights of No Shouts, No Calls, are not those when words are used, but when the voices of Verity and Mia Clarke act as instruments – wailing loudly or softly humming alongside their music.

In No Shouts, No Calls, Electrelane exude a versatility in their music not often heard; some songs begin quietly and then build, others race out fast and loud, then calm their noise and pace; both styles executed deftly. Their music forever changing, Electrelane stick to no particular formula or style, as they challenge their musical abilities. Such are their talents and innovation, No Shouts, No Calls could simply be Electrelane flaunting just how skilled they are.

‘The Greater Times’ kicks off proceedings, letting it be known that a spare couple of listening hours will be needed to take it all in. Musically, the instruments mesh well; the soft guitar in the beginning joined by organ sounds of a keyboard amongst others, the strength of the melody evidence of the understanding between Electrelane’s four members. While at times, Verity’s voice seems stretched to its limits, and it’s hard to know how to take it, as the song builds, her voice finds its place with the other instruments – the lyrics eventually giving way to the soothing humming sounds where no words are used.

What comes next is a collection of tracks that follow no set pattern or format – no method or melody ever seen coming. The four women that make up Electrelane produce multifaceted, heart-stopping melodies with hypnotic keyboard, farsifa, clarinet, intricate guitars and all the regulars. Their mastery of their instruments such that No Shouts, No Calls constantly surprises. From messy garage noises, to tight, clean, intricate melodies woven with striking guitar and keyboard, No Shouts, No Calls contains it all. One minute it is slow and sombre, the next it’s an epic clash of noise that only continues to ascend.

The music in ‘After The Call’ is calm and relaxed, with simple guitar and a slow beat, and then suddenly everything changes. First, a pause gives the impression the song has ended, and then, a surge of blaring guitars and drums replaces the whisper that was there just a second ago. It is unexpected, and another example that anything can, and just might, happen with the music of Electrelane.

This conflict within the album is not all bad. At times, the songs should keep going, at others, they should just end – constantly evoking mixed emotions in regard to what is actually occurring. This versatility, and sense of not knowing what will happen next, is the reason why No Shouts, No Calls is both confusing and exciting.

Despite Susman’s statement, No Shouts, No Calls’ music and singing mesh well. That is until closing track ‘The Lighthouse’ provides some argument for her original statement. .Here there is no singing of any kind, and musically it is the most stunning track; the fast and complex keyboard truly mesmerising. What starts off as just soft and scratchy guitar builds into an epic, keyboard leading the rest of the instruments in crescendo. ‘The Lighthouse’ is a conductor of goose bumps, and it is not until this last track that Susman’s statement begins to ring true. Musically, the song works so well because there is no voice to distract, and take the ears away from just listening to the music. The enjoyment of each member shines through, and while the tracks that contain vocals work well, it is when Electrelane have to think of nothing else but playing music that their artistry proves to be awe-inspiring.

No Shouts, No Calls shows Electrelane are a musical force, capable of creating sounds most bands can only dream of. Musically, it all just works; an album that challenges, annoys, inspires, and amaze – all at the same time. It isn’t until the very end that questions of what a purely instrumental rendering would sound like. The songs contained in No Shouts, No calls prove both startling and memorable, but maybe if they were just pieces of music, with no singing at all, this album could have been truly unforgettable.