You get the feeling that this album will be a long-standing treasure for any Scottish, indie-favouring audiophiles.
It was recorded entirely outdoors, in Scotland and in Morrocco, Australia… even in Uganda and Turkey.
Not to be written off as a marketing gimmick, the dedication and detailed care that has gone into recording this LP shines through, to create a unique and atmospheric piece of work.
Powerful opener ‘All My Love’ is emotional without melodrama and Dan Lyth’s delivery and flawless falsetto parts, underpinned by a soft string section and lilting piano chords, make for a beautiful introduction to the LP.
The range of instrumentation used makes for an interesting and multi-textured album, from the distant horn trills at the end of ‘All My Love’ to the opening bars of ‘Four Creatures’, where a combination of steel-drum tones and retro organ setting keys make for a driving, haunting track.
Benthic Lines explores some intense and dramatic themes; love, a changing world, technological addiction (“the computer at my thigh/for all its skills, can’t prophesize”) and climatic change are all in there.
An indie singer-songwriter has the danger of straying into generic and mass-bedroom produced territory, however Lyth’s obvious talent and unique voice pulls it off remarkably and makes for a release that waxes lyrical to the listener in engaging tracks that are emotionally aware, but never self-indulgent.
‘How It Happened’ is a delicate composition: the dreamy lilt, soft keys and light percussion make for a real high point on ‘Benthic Lines,’ proof that Lyth’s unconventional recording combines with his writing to create excellent, soft music.
Lyth shows a knack for developing the softest of melancholy anthems, in a way that reminds you of The Cinematic Orchestra or The Polyphonic Spree, his closing croons on ‘This Time in November’ (“you won’t remember/this time in November”) could easily rival either of the above in emotion and delivery.
Closing track ‘Super Nature’ fades in with fluttering, synth-like noises, Lyth’s now-established dreamy delivery concludes the LP in an impressive bow.
In short, Benthic Lines is a deeply emotive, unique and interesting listen; a plethora of beautifully composed brass and string sections build on Lyth’s reserved piano work.
These songs, juxtaposed with the natural sounds of diverse outdoor recording environments add a welcome extra dimension to the release and showcase a real skill – Lyth is, unsurprisingly, a Dunfermline-based sound designer “by day”, we can be glad that is he releasing such unique and talented recordings by night, then.
Words: Tom Deering
