By Harley Brown on August 18th, 2011 in
An obvious difference between this album and the last is that Top sings mostly in English instead of Hebrew (except for “Tel Aviv”, which opens with Hebrew against understated organs and sunny arpeggios). Since Hebrew is such a musical language, the harmony between Top’s lyrics and the arrangements and instrumentation on Fool’s Gold gets lost in translation; for example, “No, you have not ruined me/Despite your best efforts” sounds awkwardly pedestrian sung to the brassy beat of “Wild Window”. Fortunately, the lyrics usually take a backseat to each song’s myriad elements. “Street Clothes”, arguably the most complex song on the album, introduces a saxophone solo before Top’s quavering howl, which builds over fat bass lines to a chaotic, glorious apex that suddenly softens into prog-y drums to close out the song.
Just as suddenly, the title track begins with bittersweet guitars, which combined with Top’s lush tenor sounds straight off of The Smiths. The song ushers in “Balmy”, with its Algerian beat which sways like a palm tree over romantic ’80s synths, and “Narrow Sun”, which starts slow before kicking into emphatic horns and Top’s David Byrne-esque yelps on the breakdown. The album ends with “Lantern”, a classic, slow-burning ballad. Leave No Trace exemplifies Fool’s Gold’s versatility, a trend that will hopefully continue on future albums.
Essential Tracks: “Wild Window”, “Narrow Sun”
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