Matt Berry - The Blue Elephant Review
“Matt Berry’s latest and ninth album, newly released by his long-associated label Acid Jazz, is a psychedelic trip of earnest direction.”
The public tend to be rather conservative when it comes to artists excelling in various deemed-exclusive pursuits. It is often the case that when a creative identity is offered up to the public, it becomes the defining profile of an artistic career, from which it is difficult to ever disassociate. Matt Berry, whose immense comedic presence has made him a treasure of the national screen, has experienced this firsthand, previously referring to the perception as an identifiably British trait. A few years ago, I would have been inclined to agree with him. I still remember excitedly telling friends about his performance at the Ruby Lounge in Manchester, an event supported by his band, The Maypoles. Usually my monologue would be cut off quickly, with a variation of the same phrase.
What, Matt Berry the comedian?
Now, after several albums, to which he consistently contributes instruments, vocals, and engineering, I’d not hesitate to say that he has deservedly broken free.
Berry’s music has taken on many guises. Even those solely familiar with his television presence, whether Snuff Box, Garth Marenghi’s Darkplace, or Toast of London, will almost certainly have heard his music, be it as a rock jingle theme tune or an in-show sketch like the 80s-inspired synth track, One Track Lover, that appears on screen with Richard Ayoade’s supporting rap. His albums are various in their sound and aesthetics. Witchazel is countryside-saturated pagan rhapsody; Music For Insomniacs is Oldfield-esque ambient adventure, and Phantom Birds is stripped-back singer-songwriter intimacy. No matter how much they diverge, however, they each contain a recognisable authorial signature.
Berry’s is a signature that goes beyond his iconic voice to be defined by atmosphere, organs, introspection, playful synths, fuzzed guitars, and a tendency for nostalgia. Songs shy away from popular chart structures, a deliberate choice that allows him greater creative freedom. They can meander in extended soundscapes before ushering in vocals, or, conversely, can offer a brief ballad before losing themselves in lengthy, exploratory solos. Sometimes they last only a minute, other times nearly ten. All of which tend to be distinct qualities of the artists that inspire Berry’s work — artists like The Doors and even Roxy Music.
Matt Berry’s latest and ninth album, The Blue Elephant, newly released by his long-associated label Acid Jazz, is a psychedelic trip of earnest direction. It is an expedition of vibes, fuzzed and warped, showcasing new riffs and an extensive variety of instruments at every turn, almost as if Vivian Stanshall should be ready to name each one as it enters the ceremony. Moog. Wurlitzer. And, introducing, Farfisa organ!
Despite them cultivating upbeat musical moods, the hypnotic synths and cheery riffs are rendered heavy by solemn lyrics, a mixture of glam and glum. Themes of isolation and fear are pervasive, told through succinct phrasing and often repeated. With the album’s title, it all feels thematically appropriate. Berry’s own painting of the titular figure also appears as the cover art, complementing the music well. A fashionably-dressed but grotesque figure obscured by the repeated bokeh of spotlight focus. What it all means, however, is apparently open to interpretation.
There are numerous flashbacks throughout and dedicated fans are likely to notice many sounds reminiscent of Berry’s previous work, including a humorous short skit that harks of Opium’s narrative interludes (Berry’s pre-Acid Jazz album once accessible on his, now removed, MySpace page). It’s worth mentioning this because seldom does Berry’s comedy permeate his music, despite the reverse being commonplace. A deliberate decision, perhaps, one that helps him to fend off typecasting.
Admittedly, while I’d consider it to be among Berry’s best, I couldn’t help but feel it was, in places, too hasty for my preference. Captivating melodies occasionally disappear just as they begin to accelerate and there are a number of moments that I wanted to be drawn out much further so that I could revel in them and attain that prolonged hypnosis so often found in psychedelic classics. A piece of music that is given due length is ‘Now Disappear’, which is presented twice, returning to close out the album as ‘Now Disappear (Again)’. This conclusion only brings back part of the original lyrics but they are nonetheless pertinent.
“It’s a drag to be set on fire.
Welcome back, now disappear.”
It may seem presumptuous to discuss what new work might be on the horizon so soon after The Blue Elephant but, while Berry hasn’t yet officially announced another solo project, the regularity with which he releases music is demonstrative of an impressive gumption that makes it likely we will see something soon enough. Even among his frequent television, movie, and radio appearances, he finds the time to release an album every year. There is, however, an upcoming album that has been only quietly announced with Berry’s name attached. Milkbone is set to be a vinyl-only project written and recorded remotely during last year’s lockdown. Little else has been revealed and the project’s synopsis simply names a roster of artists whose work inspired the music, many of whom will likely suit those fond of Berry’s solo work.
As a fan myself, I actually had the good fortune of encountering Matt Berry after his Ruby Lounge gig in Manchester. He was making his way through the venue’s residual bustle as I turned away from the merchandise table and, quite literally, bumped into him. With only a moment to compose myself, I simply congratulated him on the performance, to which he bellowed his gratitude. He didn’t smile but he was undeniably content.