As you can imagine, Hannah Reid is once again a critical group member, and I especially liked her vocal performance on ‘Intro’. Many told me before I got the chance to listen and review this album that it had a hint of Clannad about it. Considering Hannah’s Celtic roots, this didn’t surprise me, but I’m afraid I have to disagree with most of their assumptions about this record sounding like Clannad. Yes, ‘Intro’ does sound like a Clannad track used for a soundtrack or otherwise, but I didn’t see much else resembling Clannad’s inspiration. Another three to four songs, but that’s about it. 

It differs from the last album from 2017 because it flirts with experimentation more, adding more orchestral, Celtic, and cinematic sounds. There is a touch of ambience in the album, too. Now, remember I spoke about ‘Intro’ sounding like Clannad earlier? Here’s why. Although Hannah doesn’t sing, she still uses angelic vocalising with her voice while chiming bells, strings, vinyl crackles, and a haunting Celtic ambience dances with her vocalising. Its cinematic feel is glorious to listen to in surround sound and sends chills down your spine with its haunting. It would be ideal for a film based on Celtic folklore. Clannad may have heard this track and might be interested in working with Hannah.

Hannah’s vocals do not deviate much during the entire album. The record then goes from ‘Intro’ to the ‘Californian Soil’ title track. Many have drawn comparisons with Massive Attack on this. 

Still, as always going against the grain, I found some other artists I felt drew more comparison in Alanis Morrisette. Why? Because to me, the riff sounded more like her 90s hit ‘You Oughta Know’ not because of the aggressive vocals or subject matter, but just that. 

After that, a record is packed with Hannah’s trademark vocals, sometimes angelic vocals, synths that are so relaxing you fall into a trance, strings, Clannad-inspired melodies, and sometimes the guitar riff makes an appearance. 

Because of the calming and light instrumentation, you could also draw comparisons to My Morning Jacket. Like the American band, London Grammar has allowed you to sit back, stare at the ceiling, or close your eyes and dream of entering another realm.

Of course, aside from their generic sound, ‘All My Love’ is a cinematic ballad, and ‘Closer America’ is more melancholic than what they usually do. The latter is about chasing the American dream and crushing it with brutal honesty. 

However, I will close on the trackside of the review with ‘Missing’. When I heard this, I instantly thought of Zero 7’s ‘Destiny’ with its downtempo, which felt precisely like the 2001 track. Still, Hannah’s vocals mirrored Sophie Barker’s and Sia Furler’s (Yes, THAT Sia Furler. She came over to England in 1998 from Australia. In fact, it is worth listening to some of her earlier work like ‘Little Men’ and ‘Drink to Get Drunk’). Not only have you got a sense of Sophie and Sia in it, but I am going to say the great Sadé, too.

The lyrical content is centred mainly around Hannah’s fight with feminism and the sexism and misogyny she has encountered many times since joining the industry. It gives more energy and passion to the record because it lets her emotions shine through with conviction. 

The record is quite melancholic for the group, more mature than the previous records, with some tracks fit for a film soundtrack, inspired by Hannah’s Celtic roots and subject matters that need urgent addressing, like the sexism towards women that is still experienced by many within the industry to the present day. As for the Clannad connection? It was less heavily influenced than some people have made out. Like I said, three to four tracks at the maximum.

Song recommendations: ‘Intro’, ‘Californian Soil’, ‘Missing’

7/10