Haunted

80年代後半から90年代初期にかけての諸作品がギター・ポップ・ファンに高く評価され、ポップス界の"J.D.サリンジャー"と評される、イギリス人シンガーソングライターBill Pritchardのニューアルバム。1991年の名作『Jolie』以降でもっともポップに踏み込んだ内容となっており、鋭い観察眼と円熟したメロディセンスが存分に発揮されている。人や場所、情熱といった消えずに残る記憶を主題に、私的でありながら普遍性を湛えた楽曲を収録。ブラスやドラムマシン、きらめくギター、豊かなハーモニーが交差し、ヨーロッパ的で有機的なポップ・サウンドを描き出す。Scott WalkerからThe Lemon Twigsまでを想起させる多彩な要素を内包しつつ、軽やかさと内省、憂いと歓びが同居する作品に仕上がっている。

British singer/songwriter Bill Pritchard has been on a path just outside of the limelight since he began releasing solo albums in the late ‘80s. Occupying the time-honored role of “your favorite musician’s favorite musician,” Pritchard’s thoughtful, storytelling tunes have been championed by other artists, and placed by critics alongside the introspective and clever styles of Lloyd Cole, Robyn Hitchcock, and the like. Pritchard’s 1991 album Jolie was a landmark for him, as its pop-friendly arrangements and heightened production approach from the Lightning Seeds’ Ian Broudie made it one of his most well-received records. Though Pritchard never strayed completely from a pop sound, he’s also experimented with different sides of his songwriting; exploring somber piano balladry, and leaning into a downturned folk style on his 2023 collaboration with poet Patrick Woodcock. Haunted is perhaps the most lively and decorated album Pritchard has made since Jolie, with arrangements heavy on bright horns, upbeat tempos, and excitable melodies, all serving the same intelligent songwriting style that’s long been the bedrock of his craft. The album charges out of the gates with “Perpetual Tourist,” an affable pop song built on Felt-esque organ lines, jumpy drums, and Pritchard’s signature bone-dry lyrics, with moments of wit and humor so sharp they take a few listens to catch. “Smile” is similar, driven by sparkly acoustic guitars and hints of Morricone influence in the percussion and arrangement, while “Lillie” is an uplifting tussle of swaggering horns and bittersweet melodic sensibilities. Even when Pritchard takes the energy down a bit, Haunted remains engaging. “Curious Feeling” moves a little more slowly, offering the kind of observational songwriting Al Stewart did so well on his earliest albums. There are hints of Beatlesesque melancholia on “Sweet Melody,” and the brief “Sunsets in Poland” captures a beautiful kind of loneliness with its wistful groove. Haunted is another excellent entry in Pritchard’s discography, one that finds him drawing from an extended selection of joyful sounds for his arrangements while he continues exploring complex emotions with his writing. If you’ve never heard anything he’s done before Haunted, this is a perfect place to discover a new favorite. ~ Fred Thomas