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Self release [Release Date 22.03.23]
Lazarus Heights is an experienced Anglo-French quartet based in South West France, who put the emphasis on undulating melodies, memorable hooks and fine musicianship that always supports the song.
The band comprises the rock solid rhythm section of drummer Jeff Gautier (Jean-Jacques Goldman / Paul Personne / Calvin Russell), bassist Simon Pearson, jazz-funk and prog-rock keyboard playing composer and backing vocalist Paul Mouradian and the charismatic vocalist/guitarist and singer songwriter Dick Grisdale, who contributes 5 of the 7 songs.
The 7 track ‘Strangers’ which was recently re-issued to tie in with their first national tour is obviously bigger than an EP, but arguably just a little less than a full blown album.
No matter, the band leaves their DNA all over the 7 tracks which comprise 5 self penned songs and two well chosen covers. In doing so they tellingly leave a void with which they invite the listener to fill by hitting the repeat play button.
Having seen the band live on a number of occasions it’s also a shame that they chose not to include the track that gives the band its name.
However, the Grisdale penned ‘Shipwreck’, a sweeping ballad (and one of several sea related songs in his back catalogue) comes close to the majesty of the omitted track. His snaking guitar line also underpins his own excellent vocal phrasing, delivered with clarity of diction and enough emotion to connect the music with his seafaring metaphors.
And while his vocal has enough versatility to evoke the likes of Bowie and Simple Minds’ Jim Kerr, he makes the most of the band’s post U2 wall of sound to nail his own style. He also consistently explores enough emotion to bring the narrative to life.
Somehow everything flows mellifluously on the punchy title track and into the uplifting double-tracked chorus. It’s flanked by jangling guitars and topped by a clean toned solo over a drum tight rhythm section, as Grisdale slips into his story telling mode: “Were all strangers anyway, and every hotel room’s the same.”
The pulsing opening to ‘Another World’ soon gives way to an 80’s era layered synths over a muscular back beat, while the resolving guitar solo adds an ethereal feel.
The cover of Richard Ashworth’s ‘A Song For The Lovers’ (his first post Verve solo single) retains the percussive intro of the original but sensibly loses the strings, though Mouradian can’t resist a significant synth line. Grisdale is in his element on the kind of heartfelt lyrics that populates his own songs.
The fact that this version features its own instrumentation says much of about the band’s ability and versatility, while Grisdale’s vocal evokes REM’s Michael Stipe.
Simon Pearson’s propulsive rumbling bass matches Gautier’s relentless drive, while Mouradian’s overarching organ break leads into the call and response bv’s that give the song its uplifting feel.
It’s a natural anchor track of the album, leaving the band with much to do on the following ‘Could It Be’, but they pull it off with a lovely sub-Latino undertow and Grisdale’s ability to give his own lyrics an anthemic feel.
He’s comfortable extending a note as he leans into the sweep of the hook with gusto and adds an edgy toned guitar line over keyboard stabs.
In many respects this track defines the band’s enveloping style, which reaches for the dramatic but always leaves room for the groove to percolate.
He adds a second more sinewy solo on the outro which perfectly assimilates into the fade
In an age when everyone is recording in their bedroom, or at least in home based studios, ‘Strangers’ sparkles because of the organic feel of a band playing in the same room together and sharing the moment
The Grisdale penned poetic sea shanty ‘Melanie Neal’ dates back a few years, but still sounds fresh and immediate, and buoyed by Gautier’s driving drum pattern and Mouradian’s nuanced keys.
The Keyboard player also finds another interesting, almost sonorous tone to match the ghostly lyrics: “But happiness is just a flickering flame, as the priest turns to wind, and the wind turns to rain, and the storms without reason continue to rage, to the arms of another, to the arms of a grave.”
Fanny Lassagne’s additional bv’s add to the eerie feel, on an unexpected triumph.
They finish with Grisdale singing in French on ‘Les Mots Bleus’ (‘The Blue Words’) the famous Jean Michel Jarre and Christophe romantic ballad which is back in‘74 updated Chanson Francaise.
And just as it seems it they have missed the opportunity for a big finish that the album demands, Jeff’s big drum break at the 2.12 mark energises the song.
And as a synth line rises and Grisdale’s vocal is given a judicious touch of echo, he delivers a final defining proggy David Gilmour style solo to clinch the game, set and match. ****
Review by Pete Feenstra
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