Every time I sit down to write about Philip Sheppard’s new album – Fall from Earth – I struggle to commit anything to the page. That’s not because there’s not anything good to say, more that there’s so much good to say about it I want to make sure I haven’t missed anything.
It would be all too easy to dismiss this album as
Breaking Light in particular treads an anxious but defiant line that
Part of that is down to Philip Sheppard’s precision writing demonstrated in the multi-textured worlds his stories exist. The recording isolates distinct instrumental sounds, some familiar, others more ambiguous creating other worldly textures that avoid cliché and trigger closer attention.
This is Your Future Self is a good example. And if you’re a sucker for scurrying string lines captured by a microphone focused on the bridge of a violin, be sure to pay close attention to Chasing Thought – surely the signature tune Sheppard wished he’d written for TV medical soap Casualty.
After a reprise of the transcendent Chosen Road Alone, the album concludes with a much-appreciated resolution in Fallingwater Dawn. A renewed spirit permeates the track. Brimming with anticipation for a future not yet realised, by the time we reach Fallingwater Sheppard has marshalled whatever the tension was that compelled us to listen throughout the album, and turned into something altogether longer-lasting and more nourishing.
Clearly drawing on Philip Glass and Steve Reich, Elbow, Coldplay and possibly even Keane, Philip Sheppard’s Fall From Earth is his finest and most self-contained creation. It’s also an unexpectedly riveting listen. It’s the kind of music Augusten Burroughs would have used to escape into multiple personal montages in Running with Scissors.
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