Lazarus Heights - Papillon
Anglo-French band Lazarus Heights, featuring singer-songwriter-guitarist Dick Grisdale, Jeff Gautier (drums), Paul Mouradian (keys, backing vocals) and Simon Pearson (bass), carry both rock and classic pop influences within their highly individualistic sound.
That the quartet manage to dovetail their rock leanings with their pop-craft so comfortably and confidently on debut album Papillon is a testament to both Grisdale's songwriting and the band’s ultimate goal – that of producing well arranged, highly accessible music that has hidden depth and some delightful subtleties.
Opener/ title track 'Papillon' immediately creates an atmosphere, one that hearkens to the big sound of 70s rock (the slightly reverbed guitar chords that kick the song off instantly give the number a Zeppelin vibe).
The treated vocal on the verses adds another layer, while the short chorus sections are more akin to something lifted from a Bond theme. The later synth solo and choral styled closing sequence, complemented by a melodic guitar solo from Dick Grisdale, point to a song – and band – with a great sense of dynamics.
Following number 'Fall For You' underlines the band’s classy and classic pop credentials, where infectious charm mixes with a slightly Indie vibe (think The Smiths in an alternate reality where they were bright and upbeat).
That opening brace sets the tone of the twelve track Papillon, which mixes lighter moments and cool, sometimes funky, jazz-splashed pop ('Murder Blue') with rockier material, such as 'The Pleasure' (a contemporary, rhythmic number with middle-eastern inflections), the uplifting 'Waterfall' and the Indie/ Euro-punk overtones of 'The Joker.'
Then there’s the darker, film-noire styled 'Dry Martini,' which serves itself up as one of the album’s highlights.
Two ballads, 'Dive' and 'The Living Room,' are led by the understated but well phrased baritone vocals of Dick Grisdale. The former is bolstered further by a couple of lovely Gilmour-esque solos while the latter, a delicately reflective piece, stands strong as the softer foil to the album’s weightier moments.
There are also a couple of interesting cover choices, both of which are worthy of their place here.
Jaques Brel’s 'Next' nods more than a little, I’m delighted to say, to the Sensational Alex Harvey Band’s once heard never forgotten version, while Alain Bashung’s 'Fantasie Militaire' (sung/ spoken in the original French) is given an up-tempo, contemporary makeover, with suitably edgy guitar solo.
The band save the best to last with their self-titled, seven-minute mini-epic 'Lazarus Heights,' which moves the quartet from their Dordogne area of France beginnings to Old Blighty and London.
The most English (and decidedly Floyd-esque) sounding song on the album, 'Lazarus Heights' first sets the scene ("It’s a sunny day at Lords… there’s a new man in Number 10…") before the evocative, slow-build number takes the listener along a path of dreamy synths, heavy acoustic backings, hopeful lyricism (the chorus cry of "It’s high time on Lazarus heights" makes for a powerful, last chance to rise plea) and a beautifully emotive solo that has Dick Grisdale channelling his inner Gilmour.
(That Grisdale also sounds like a lower-voiced Bowie in some of the verse passages just adds to the pathos).
2023 EP Strangers showcased the lighter/ melodic-pop side of Dick Grisdale/ Lazarus Heights to fine effect, but the seriously impressive and multi-faceted Papillon deserves to take the band further than delicate butterfly wings could ever carry them.
Ross Muir
FabricationsHQ
That the quartet manage to dovetail their rock leanings with their pop-craft so comfortably and confidently on debut album Papillon is a testament to both Grisdale's songwriting and the band’s ultimate goal – that of producing well arranged, highly accessible music that has hidden depth and some delightful subtleties.
Opener/ title track 'Papillon' immediately creates an atmosphere, one that hearkens to the big sound of 70s rock (the slightly reverbed guitar chords that kick the song off instantly give the number a Zeppelin vibe).
The treated vocal on the verses adds another layer, while the short chorus sections are more akin to something lifted from a Bond theme. The later synth solo and choral styled closing sequence, complemented by a melodic guitar solo from Dick Grisdale, point to a song – and band – with a great sense of dynamics.
Following number 'Fall For You' underlines the band’s classy and classic pop credentials, where infectious charm mixes with a slightly Indie vibe (think The Smiths in an alternate reality where they were bright and upbeat).
That opening brace sets the tone of the twelve track Papillon, which mixes lighter moments and cool, sometimes funky, jazz-splashed pop ('Murder Blue') with rockier material, such as 'The Pleasure' (a contemporary, rhythmic number with middle-eastern inflections), the uplifting 'Waterfall' and the Indie/ Euro-punk overtones of 'The Joker.'
Then there’s the darker, film-noire styled 'Dry Martini,' which serves itself up as one of the album’s highlights.
Two ballads, 'Dive' and 'The Living Room,' are led by the understated but well phrased baritone vocals of Dick Grisdale. The former is bolstered further by a couple of lovely Gilmour-esque solos while the latter, a delicately reflective piece, stands strong as the softer foil to the album’s weightier moments.
There are also a couple of interesting cover choices, both of which are worthy of their place here.
Jaques Brel’s 'Next' nods more than a little, I’m delighted to say, to the Sensational Alex Harvey Band’s once heard never forgotten version, while Alain Bashung’s 'Fantasie Militaire' (sung/ spoken in the original French) is given an up-tempo, contemporary makeover, with suitably edgy guitar solo.
The band save the best to last with their self-titled, seven-minute mini-epic 'Lazarus Heights,' which moves the quartet from their Dordogne area of France beginnings to Old Blighty and London.
The most English (and decidedly Floyd-esque) sounding song on the album, 'Lazarus Heights' first sets the scene ("It’s a sunny day at Lords… there’s a new man in Number 10…") before the evocative, slow-build number takes the listener along a path of dreamy synths, heavy acoustic backings, hopeful lyricism (the chorus cry of "It’s high time on Lazarus heights" makes for a powerful, last chance to rise plea) and a beautifully emotive solo that has Dick Grisdale channelling his inner Gilmour.
(That Grisdale also sounds like a lower-voiced Bowie in some of the verse passages just adds to the pathos).
2023 EP Strangers showcased the lighter/ melodic-pop side of Dick Grisdale/ Lazarus Heights to fine effect, but the seriously impressive and multi-faceted Papillon deserves to take the band further than delicate butterfly wings could ever carry them.
Ross Muir
FabricationsHQ