ALBUMS »
Joseph Arthur - 'Nuclear Daydream' (Lonely Astronaut)
Released 03/09/07

"'Nuclear Daydream' is so multifaceted and complete..."

5 stars (out of 5)

Joseph Arthur's hotly tipped fifth album, 'Nuclear Daydream', marks him out from a lesser known to a widely assured artist who has moved on from the overwrought, gnarly and melancholic singer-songwriter that made some of his Real World albums challenging material at times. 'Our Shadows Will Remain' showed a more accessible side, and emotions on 'Nuclear Daydream' are more ebullient and life-affirming, showing a mature command with the song-craft buoyed with laid-back acoustic melodies and an album that maintains a lyrical ambiguity - whether it be addressing decay through needles and pills or the political map with the emotional scars of Hurricane Katrina's foul winds.

Set to rich acoustic textures with vocal multitracking of Joseph's falsetto and sonorous tenor, 'Nuclear Daydream' appears at many listens to be Joseph's most open and transparent album to date yet seems counter-poised betwixt the personal and political worlds and sits easily in both, maintaining a certain inscrutability and enigma with an absence of any continuous narrative thread between the tracks.

The pop opener 'Too Much To Hide' references needles from the off - "The needle says she'll tell when she's through..." and the George Harrison pop stylings with tapping tambourine set a tempo, but the coffee-and-cream vocals of Joseph's 'Black Lexus' proves worth its weight in gold - "...you can't find her/ in the mirror everything's reversed..." with a simple acoustic guitar arrangement that finds the missing link between Roy Orbison and Bob Dylan, and the spirit elan continues with The Kinks jingle of 'Enough To Get Away' finding affirmation in a world of unease - "...I know what I found/ must be in paradise...".

Tracks such as 'Electrical Storm' and 'You Are Free' show the Midas touch with textured vocals that manage to lodge in the space between reverie and memory, the former with hypnotic chords and a poetasters eye on the life cycle - "...you are born and then you die...", and the riffs and mouth organ of 'You Are Free' like a track lifted from Neil Young's 'Harvest' with the existential verse - "...I'm no longer who I was/ no longer who I thought I was...not afraid of losing myself/ ain't no self to lose...".

'Automatic Situation' hangs around and helps the languorous mood with cymbal-percussion and keys for a sonic moonlit-bath; and a stow-away Jagger and The Stones bring influences to bear on 'When I Was Running Out Of Time' - "...you've got a cheating heart/ bleeding emeralds everyday..." also alluding to the Hurricane Katrina disaster in New Orleans - "...we've got a million souls/ looking for a place to stay/ each one a shooting star...", and 'Slide Away' - "...what you say/ it counts...if you're a peaceful soul/ peace will come...", the textured vocals and acoustic melodies grooving as they score.

'Don't Tell Your Eyes' may come across more convincing in live performance than this recording with its' biscuit tin beats and groaning vocal overlay making for artifact more than sincerity when simplicity would have halted attention, and the choral accompaniment of 'Don't Give Up On People' sits like a Lennon demo playing within a stagnant hollow space; yet 'Woman' lifts with a song John Lennon would be right proud of, "...Woman, You make me feel/ Woman, are you for real...", a song of devotion to Goethe's notion of the eternal feminine set to a lilting strum.

Solo acoustic guitar on the title track 'Nuclear Daydream' bears the stamp of an age, proving cryptic - it seems to admit that the artist doesn't have all the answers - "...if there's a plan then please tell me...the days when I would die for you/ are now gone..." having stirred into the cold and uncaring U.S. steely machine-heart, yet also alludes to a needle-user who has made their self-destructive choices - "...you can shoot and kill me/ or you could let me run..." - because chance rules the day.

'Nuclear Daydream' has its weaknesses - a folding crease that separates the first and second half of the album, with the second half faltering on occasion in its introversion. There is, however, genius at work, for 'Nuclear Daydream' is so multifaceted and complete, the singer-songwriter who triumphed with tracks such as 'In the Sun', 'A Smile That Explodes', 'Mercedes', 'Speed Of Light' and 'You Are The Dark' on previous albums has come of age and has gifted an album with shades of the giants - John Lennon, The Strolling Bones, The Kinks and the Eternal Bard making for something that will live beyond this disposable age.

by Mark Perlaki on 04/09/2007
(from GIGWISE)

Joseph Arthur, Nuclear Daydream (Lonely Astronaut)

3 stars (out of 5)

Joseph Arthur doesn't seem in a hurry to get anywhere. Now on his fifth album, having won the patronage of Michael Stipe, Peter Gabriel and scores of music critics along the way, the native New Yorker still sounds as if he can barely be bothered to get out of bed. Still, his languid, croaky whine is peculiarly well matched to songs that seem to document some sort of malaise, whether post-romantic collapse or, judging from the number of references to needles in the lyrics, something darker. It's difficult to decide whether Arthur is the sufferer or the narrator, but he gradually sculpts love, death and a bare minimum of chords into something affecting. Don't Give Up on People could be a John Lennon recording from beyond the grave, while the strangely moving title track is like a dark negative of the Stones' Wild Horses, with romantic yearning swapped for relationship mourning.

Dave Simpson - Friday September 7, 2007
(from Guardian Unlimited)

Joseph Arthur - Nuclear Daydream

4 stars (out of 5)

Releasing two new albums simultaneously is a big ask of any artist, but when you see what Joseph Arthur has done and is all about, it's another step on an amazing journey for this man.

Nuclear Daydream is Arthur's fifth full-length album, comprising of 12 original songs. Exploring the worlds of love and despair, it was released in the States in late '06 where Vanity Fair called the album as "a glorious work of art" whilst Entertainment Weekly described it as "an epic tale of romantic loss that is haunting, mournful and ultimately hopeful."

I very much agree. From the opening song 'Too Much To Hide' all the way through to the title track at the end of the album, explorations of love, life, and loss are found. The recently released single 'Enough To Get Away' is beautiful, combining wonderful lyrics with a grippingly simple backing track. "Next year we will live in the country... doing laundry". Arthur sings of a dream to be somewhere, but one which perhaps isn't quite attainable. Maybe this was his influence for the album title. Stand out tracks are 'You Are Free', 'Automatic Situation' and 'Woman'. I won't say much about the songs individually as you should hear them yourself to get the full experience. They are though, soft, melodic, mesmerising, and quite breathtaking. You find yourself listening intently, drawn into his hypnotising voice and the events he sings about.

Obviously not happy releasing two albums, Arthur has just opened his own gallery and performance space called The Museum of Modern Arthur. As he is an established and acclaimed artist on canvas as well as musically, this space he has created is the perfect area for his work to be shown and his story to be told. He also worked alongside the likes of Chris Martin and Justin Timberlake in covering one of his songs from an earlier album in hope of raising money for Hurricane Katrina victims. Joseph Arthur is a very talented man, one that gives back to the community through charity work as well as in the music and art he creates. Nuclear Daydream will no doubt be another highly anticipated and well received album. A very impressive album.

Words by Joseph C Seager
(from leedsmusicscene)

Joseph Arthur - Nuclear Daydream
(14th Floor)

Yet to be much of a household name in the UK despite increasing critical acclaim, Joseph Arthur is going for broke with a double album release with a difference. Two albums on the same day will be released by the erstwhile songsmith, 'Let's Just Be' being joined by brooding 'Nuclear Daydream'.

Showcasing his refreshingly distinctive style, 'Nuclear Daydream' is an unfortunately glib title for a collection of beguiling, charming tracks, layered with passion rather than by production. It'll attract the ears of Ryan Adams or Granddaddy fans, and don't be too surprised if the attic full of 60s folk vinyls is raided for rediscovering too. In 'Black Lexus' and 'Electric Storm', the seasons of good will and soulful escape swirl like subtle storms.

Resigned to fate, yes, but recharged too, Arthur is at his best at his most stark. 'You Are Free' contains all the life-affirming tone of countless songs like it before but done with a storming character and full, honest vocals. A haze of religious ferocity is evident throughout, notably 'Don't Give Up On People' covered by Cash's shadow. With a catalogue of work aching for discovery, Arthur has had minor success with albums on Peter Gabriel's Real World label, and last year's 'In The Sun' money raiser for victims of Hurricane Katrina. Now set to reach a wider audience, 'Nuclear Daydream' is worth the concentration for its mature return.

4 Volts(!) out of 5

(from High Voltage)

Joseph Arthur- 'Let’s Just Be'
14th Floor Records/ Lonely Astronaut

Rating: 5 (out of 5)

The US import album from master of dark yet uplifting songwriting: Joseph Arthur

With a knack for snapping your heartstrings one by one in a gently apocalyptic fashion (think Even Tho on masterpiece album “Our Shadows Will Remain”) he comes back with deft force, in the most tender way possible: “Take Me Home” just stops you in your tracks, impossibly sad yet absolutely beautiful, the fragility in his voice is intimate and warming. Other tracks such as “Spacemen” are rockier, most upbeat songs, still with perfectly arranged instrumentation, and deliciously balmy soulful backing vocals; as joyful as the Polyphonic Spree when you mention that the sun’s out!

“Cocaine Feet” is a scuzzy rock & roll inspired track, with Joseph Arthur’s voice sounding rough and ready, sung through ancient microphones, and squealing wah-wah guitar solos.

Like his other albums, he carries with him his amazing songwriting ability, the simplicity of sounds, and the hidden technicalities of complex chord patterns to really grab you in the way that most can’t.

As always, Joseph Arthur has provided a soundtrack for a certain type of mood, that I can’t quite place my finger on. It’s as if he’s there with you when you’re feeling quiet and introspective, he will carry you through, as he sings on lilting “I Will Carry”. And long may he reign!

By: Katie Probert
(from Subba-Cultcha)

Joseph Arthur - 'Nuclear Daydream'
14th Floor

Rating: 5 (out of 5)

Beautiful latest solo album from singer/songwriter genius Joseph Arthur, in his second release of the autumn.

A double dose of releases from Joseph Arthur this autumn sees Let’s Just Be with his band The Lonely Astronauts; and this, his latest solo effort. Nuclear Daydream is a departure from his usual rather sombre style of songwriting; soaring, roomy vocals shine through on “Slide Away”, and “Why Don’t You Tell Your Eyes” is enchanting and uplifting.

It’s hard to remember that this is a solo album – the songs are so rich with instruments and textures, largely owing to the multitude of pedals and effects that Joseph Arthur employs – enabling him to stack up layers of his own vocals, to brilliant effect, particularly with the sound he achieves on “Don’t Give up on People” – the vocals as spacious as a cathedral. He plays virtually all the instruments on the album, displaying an extensive instrumental talent, as well as his delicate songwriting structures, with his signature style of swelling and swirling choruses.

“Automatic Situation” is a simple yet genius electronic based song, with huge arcs of synth coupled with steady drums and epic drops of chord changes. Other notable moving moments on the album are the lyrics “you’re born and then you die, you’re born and then you die, and you are born” which are gorgeously repeated over sparse instrumentation in the gentle spiralling lullaby that is “Electrical Storm”.

As ever, Joseph Arthur’s melodic, cinematic approach to music is enchanting and inspiring, each song blossoms out in a flourish of majesty and triumph.

By: Katie Probert
(from Subba-Cultcha)

ALBUMS »
Joseph Arthur - 'Let's Just Be' (Lonely Astronaut)
Released 03/09/07

"'Lets Just Be' gives the galloping horse of Joseph Arthur the free-rein to explore a more sonic side of his artistry..."

4 stars (out of 5)

Enjoying a release on the same day as his stalwart 'Nuclear Daydream' album, 'Let’s Just Be' was recorded after a buzzing tour with Joseph Arthur's new band The Lonely Astronauts - comprising Kraig Jarret Johnson (Golden Smog, The Jayhawks), Jennifer Turner (Natalie Merchant), Greg Wieczorek (Twilight Singers) and Sibyl Buck (Champion Of Sound) and with all the hallmarks of the live sound, 'Let's Just Be' was conceived in just three weeks with the songs layed down in a back to basics approach using a 16-track tape with no reverb, just how the old boys used to do it, trailing rumours that over 80 songs were recorded during the sessions.

The band follow Joseph's meandering lead with alacrity - Stonesy affections shine through on the honky tonk rattle of 'Diamond Ring' with the Keif hooks, the bluesy rock 'n' roll chords of 'Precious Woman' and 'Chicago' shows the band at ease with the rhythms, but the doffing of the singer-songwriter cap on 'Take Me Home' and 'Lack A Vision' provides two of those spellbindingly mellow and tender Joseph Arthur moments that's amongst the best he's written.

Influences vary with the Bowie-esque 'Spacemen' like a Beatles 'White Album' track left in the hamster cage with Bowie's 'Ground Control To Major Tom', and the brass and swagger of 'Cocaine Feet' rips with power chords like Nirvana fronted by Bobby Gillespie, with title track 'Let's Just Be' taking a cue from The Beatles and The Stones - "...let it bleed/ and let it be..." set to a clap-happy groove.

Explorations of sound come with the Stoogey garage-punk of 'Good Life' replete with growls, snarls and piggy-snorts - rocking where previously Joseph would swoon, but the sqwalking unplugged proto-punk of 'Shake It Off' proves a pointless exercise, yet one of the titles of the year 'Cockteeze' packs the Iggy Pop credo and comes in at all of 1.46 minutes with Joseph screaming it out - "...I don't care what you want to believe...",

'Lonely Astronaut' is quite another matter - at all of 20.33 minutes and taking in the musical map of U.S.rock, 'Lonely Astronaut' starts as an atmospheric countrified-acoustic number "...here comes the rain/ falling down like ecstasy..." showing a Stonesy heart, picking up some Velvet's freneticism as it goes skidding across the sonic tarmac with what sounds like the sawing of a rubber tree (what would Led Zep make of all this) then heads for an experimentalist apocalyptic meltdown of tedious repetition that tests endurance, like Throbbing Gristle and The Velvets out of their boxes, before ending with a psyche-drenched acoustic melody. Like a prism, the experimentalism of 'Lonely Astronaut' could be viewed from so many angles - the recent Scott Walker release 'The Drift' a case in point, it depends on where you're coming from, but with the currents running through and the duration, the feeling is that it's like the very act of coitus itself - tender, chaotic, animalistic, and finally, loving.

Tailing off with vocal assistance from the band on 'Yer The Reason' and 'I Will Carry You', and concluding with Velvets/'The End' of The Doors-style denouement of 'Star Song' with mouth-organ drench and guitar tuned like a sitar, the feeling is already established that this is a flawed masterpiece - tripping in its' over-indulgence and sounding like there's too much sonic hash with the bacon and eggs, and that a more regal garment could have been cut by trimming the number of tracks. Joseph remains prolific in a way most artists would envy, and 'Let’s Just Be' gives the galloping horse of Joseph Arthur the free-rein to explore a more sonic side of his artistry.

by Mark Perlaki on 06/09/2007
(from GIGWISE)

Joseph Arthur: Nuclear Daydream/Let’s Just Be

Bored of the one-at-a-time approach, ol' JA decided to release two albums simultaneously, one written immediately after his last tour with his band The Lonely Astronauts.

Nuclear Daydream, his solo effort, has less bombast and more intimacy than 2005's Our Shadows Will Remain, yet retains the sweet poetry and underlying broodiness, and like a new jacket, requires some wearing in but will last you years.

Let's Just Be, though, is the winner here, an enticing mix of vocals that screech and swagger by turns, backed with AOR riffs, dope-frazzled country, quirky Americana, raw rock and sonic adventure aplenty - including an insane 20-minute psych-alt-country-freakout of a centrepiece. Well worth investigating.

3/5

(from The Royston Crow)

Joseph Arthur -Nuclear Daydream & Let's Just Be

Joseph Arthur was born in Akron, Ohio, became a song-writing obsessive in Atlanta, Georgia and later moved to New York where he now resides. In 1996, Arthur would become the first rock artist to sign to Peter Gabriel's Real World label, releasing four albums on the imprint between 1996 and 2002. In July 2005, Arthur released the album Our Shadows Will Remain in the UK through 14th Floor Records.

Last year, Michael Stipe, alongside Justin Timberlake, Chris Martin and Arthur himself amongst others, recorded six different cover versions of Arthur's poignant track In The Sun, taken from the album Come To Where I'm From, in an effort to raise money for the victims of Hurricane Katrina.

Joseph Arthur has released Nuclear Daydream and Let's Just Be in the UK through 14th Floor Records on September 3rd.

Nuclear Daydream is Arthur's fifth full length album which is composed of 12 songs, which consists of hauntingly beautiful tracks which have an enchanting, ethereal quality, which reflect the lyrical content of romance and despair.

This album has a mix of rock, chill out, mellow and melodic overtones which makes it a great album to sit out on a summers eve and let your senses drift away.

Lets Just Be was written after Arthur's last tour with his new band The Lonely Astronauts. This album is an eclectic mix of weird and wonderful, and has a lot more grunt than Nuclear Daydream. This really puts Arthur's gritty vocals into place, showing how flexible this artist can be.

The first track, Diamond Ring, reminds me of T- Rex, with Arthur's vocals ringing out, not unlike Marc Bolan's, and the guitars having a more rockier style to them, with Good Life confusing the senses with its intro leading you into a great rock track with a catchy beat. Spaceman has David Bowie/Ziggy Stardust running through this track, very similar to Starman...but still a good track.

This album may not be to everyone's taste due to the sometimes warped intros, however, I believe you should give it a listen, you may never know....
www.josepharthur.com

Sonia Waterfield
(from tastyfanzine)

Joseph Arthur - Let's Just Be
Interesting
by Daniel Black, Sat Sep 29 02:28:16 2007

Rated 8 (out of 13)

"Let's Just Be" is an album to quench the thirsts of the widespread Bowie-adoration, Stereophonics-Brethren, Rolling Stone-maniacs and Rod Stewart-numskulls while at the same-time toggling with spell bounding, funky, conventional guitar sounds. It's great to see a modern act playing such very ordinary music but so well that it seems extraordinary; very few guys do it as well as Joseph Arthur.

Starting with "Diamond Ring" a proposition from Arthur to you; asking you, 'on-one-knee', to indulge yourself in his seductive, exhilarating brand of wonderful vocalism, lyrics, funky sweeping guitar riffs and lively drumbeats; trust me it's tempting. "Spacemen" is an obvious poke at a Bowie masterpiece, and not a bad attempt from J.A. Experimenting with some sky-scraping vocals and weird electro effects, come the chorus; a regular Bowie feature.

"Take Me Home" is a slow, gentle track. It's very relaxing but there's something about it that just makes it suddenly seem monotonous; the kind of album track you want to turn over after only 15 seconds. "Lonely Astronaut" isn't much better either; twenty minutes of tedious boredom.

Though with "Cocaine Feet" Joseph Arthur gets back on track, trying out a Rolling Stones/Strokes approach – really breathtaking. "Shake It Off" is annoying screeching noises, it spoils your opinion of Joseph Arthur, but if you can rise above it you'll understand that there are many more good points about Arthur than bad.

All in all a pretty fresh musical experience, definitely recommended for anyone who wants to broaden their musical spectrum or horizons, and hear something diverse and pioneering.

(from RoomThirteen)

Joseph Arthur - Nuclear Daydream / Let's Just Be

We've had to wait almost a year for Joseph Arthur's acclaimed fifth album Nuclear Daydream to finally get a UK release; so long in fact that it's actually coming out on the same day as his sixth album Let's Just Be, and even that came out in the States back in April. So, is it worth splashing out on both new albums at the same time? Not really, no. While Nuclear Daydream is a great album full of heart and splashes of genius, Let's Just Be is sloppy and indulgent, recorded with his touring band The Lonely Astronauts in the space of 16 days with a very improvisational feel. While it should work well hearing Arthur stripped of all the lush production that his proper albums get, Let's Just Be comes nowhere near the quality of the Stones/Neil Young albums that he claims inspired it. It sounds like they had a blast making it, but that experience isn't exactly shared by a listener who has splashed out to hear it, and whether anyone gets past the infuriating 20-minute Lonely Astronaut remains to be seen. There's some decent stuff buried away on this album, but it would have worked much better as a bonus disc for the main release, because having it come out on the same day over here just means that anyone who buys both will have even less reason to try and enjoy Let's Just Be as they'll have the vastly superior Nuclear Daydream to listen to. And make no mistake, it is a great album, full of all the magic of one of America's most under-appreciated singer-songwriters, though thankfully that might be changing, with lots of his celeb fans getting him the kind of attention he deserves, with Chris Martin and Michael Stipe covering In The Sun for charity last year and one of his last Manchester shows attended by Keanu Reeves of all people. Arthur's occasionally over-complicated production values are still a problem at times here, turning potentially beautiful songs into murky and discordant affairs, but his songwriting knack always shines through and Nuclear Daydream is probably the most focused and consistent of his albums so far, with single Enough To Get Away a clear highlight. If you want to get both albums, then do so, and you'll probably find enough in Let's Just be to make it worthwhile, but if you fancy checking out the fuss about Arthur, be very carefully which one you pick...

Ratings: **** / ** (each out of 5 stars)

(from entertainmentmanchester)

Joseph Arthur Tour Dates Announced
Published Friday, 5th October, 2007

Joseph Arthur has announced a tour for November, which will mark his first UK live shows since June 2006.

Seven nights have been scheduled, starting in Liverpool on November 16th and ending in Southampton on the 22nd - full listings are below. Tickets for each show are priced at £11.50, except for London which are available at £13 each.

The live performances will see Joseph Arthur promoting the UK release of both of his albums from last month - Nuclear Daydream and Let's Just Be.

November Tour Dates:

16th - Liverpool Academy 2
17th - Edinburgh Cabaret Voltaire
18th - York Fibbers
19th - Birmingham Academy 2
20th - London ULU
21st - Swindon 12 Bar
22nd - Southampton University (changed to Talking Heads)

(from AngryApe)

Remains to be seen, huh? I've made it through that track several dozen times myself and it gets better every single time. (note: this comment is directed at the reviewer and not junkyard_h)

Joseph Arthur – Nuclear Daydream / Let’s Just Be

Two albums released on the same day? Who does this man think he is? Axl Rose? Bruce Springsteen? Well actually the latter could be a comparison as these are certainly songs for the everyman on Joseph Arthur’s fifth and sixth album respectively but more of that later. The problem isn’t that Arthur’s as prolific a writer as Ryan Adams, it’s that he’s not as popular, so the first of these releases Nuclear Daydream, is actually finally seeing the light of day almost a year after its US release. It’s a far more acoustic record than any of its predecessors, with layered choruses over a more alt-folk vibe.

The overall feel is generally Neil Young, with this comparison particularly noticeable on ‘Black Lexus’ whilst there’s a touch of Springsteen’s raspy vocals and Ryan Adams young cool. Is Arthur trying to do for folk what the aforementioned has done for country and give it an updated jolt? Possibly; there’s the delicate strings on ‘Electrical Storm’ make this an easy on the ear, and the tranquil ‘Automatic Situation’ whilst opener ‘Too Much To Hide’ is the rockier number.

Arthur does experiment, and take risks with the sound a little, ‘Slide Away’ has an almost psychedelic guitar feel, like a stripped back Jerry Garcia, whilst ‘You Are Free’ has something of the Eels to it, but on the whole this is the most mainstream album he’s released to date.

During the touring of this album in the US Arthur added a band to his live set, calling them ‘The Lonely Astronauts’ which brings us nicely to ‘Enough To Get Away’ as it was recorded with his musical spacemen friends.

Immediately this more recent album feels different, opener ‘Diamond Ring’ sees Arthur going for a druggy 70’s ‘Stones vibe’ So It seems Arthur is something of a musical chameleon. It seems that all those experimental itches that could have been unleashed on Daydream were held back, and I for one would certainly not criticize an artist for trying to take risks and push boundaries.

As the album progresses it slowly dissolves into a raw garage rock’n’roll album, with Arthur seemingly playing ‘fun’ music as opposed to the alt-folk that’s his strength. The album is full of echoes and dialogue that sounds like it was added at a later date, and it doesn’t quite gel.

There are gems to be found on here but you need to dig a little deeper, ‘Precious One’ has a laid back feel, whereas ‘Spaceman’ attempts to recreate Ziggy Stardust era Bowie with a fair amount of success. ‘Tempt Me Home’ and ‘Chicago’ are two of the few tracks that would fit on either album, and they’re probably the pivotal tracks that ties these two albums together.

The problem here is that as on any experimental album there are tracks that don’t work. ‘Lonely Astronaut’ is twenty minutes of self indulgence with the word ‘I’ being chanted every couple of seconds for half of the tracks length. Whilst ‘Cockteeze’ and ‘Shake It Off’ are far too short; ideas and doodles that have not been developed or fine tuned properly. Feedback and squall also litter this album and there are moments such as ‘Cocaine Feet’ where you are thrust back in time to the early nineties and you could be listening to a Pavement album. It has to be said that the hits do outweigh the misses, and I’ll be interested to see where Joseph Arthur chooses to take his sound on subsequent albums. Musically these albums are miles apart, yet they do feel like a whole, so a simultaneous release date in the UK seems apt.

Greg Thomas

4/5 (for both albums)

(from rock-city.co.uk)

Article from "Les Inrockuptibles" ( in french ) :

Let's Just Be
Le New-Yorkais chante tendrement le chaos, épaulé par Dark Vador.

Il y a dix ans, au moment de la sortie de son premier album, l’Américain Joseph Arthur semblait promis aux plus hautes destinées : occuper le trône de Neil Young au royaume de la pop corrosive (qui ne dort jamais), par exemple.
Mais le prince Arthur ne devint jamais roi. Boudé par le succès, Joseph Arthur a repris l’épineux maquis, il enregistre depuis quelques années dans son propre studio et sort ses disques sur son propre label. Sans rien renier de ce qu’il est (le chaos personnifié ?), au contraire.
Joseph Arthur aime toujours les chansons fragiles jouées puissamment. Son studio-laboratoire, avec une araignée au plafond, doit ressembler à une salle des tortures pour pop-songs masochistes. Les guitares sont hérissées et stridentes, la rythmique mal commode, Dark Vador fait les chœurs sur plusieurs morceaux. Joseph Arthur aime le gros son et les ambiances malsaines, il y a chez lui la tentation du metal sataniste. Enregistré à domicile, sans enjeu commercial, Let’s Just Be sonne à la fois comme un album et son making-of, parfois expérimental et complaisant (le morceau de vingt minutes aurait pu en faire seize de moins). Le disque d’un bon songwriter qui n’a rien à faire de rendre ses chansons présentables. Let’s Just Be… “Soyons juste…”, manière de dire qu’il va falloir le prendre tel quel, nature, à sec.

STÉPHANE DESCHAMPS

13 octobre 2007