Departure Lounge - Transmeridian
DEPARTURE LOUNGE RELEASES SUPERB 'TRANSMERIDIAN'
UK alt-rock outfit Departure Lounge introduces their new album, Transmeridian, via Violette Records – the band’s first album in 19 years.
Departure Lounge
Made up of Tim Keegan (vocals, guitar), who previously played with Robyn Hitchcock & The Egyptians, Jake Kyle (bass, trumpet), Chris Anderson (guitar, keyboards, sax, oboe), and Lindsay Jamieson (drums, keyboards), when they first got together, the band was called Tim Keegan & Departure Lounge, releasing Out Of Here under the longer name, whereas the U.S. album used the name Departure Lounge.
Their two subsequent albums, Jetlag Dreams and Too Late To Die Young, were released as Departure Lounge. In 2001, the band took up a quasi-residence in Nashville, at the Slow Bar, where crème de la crème guests showed up to play with them, including Josh Rouse, Lambchop, John Painter, and Bucky Baxter, who played steel guitar for Bob Dylan.
The band dissolved in 2002, followed by getting together again 17 years later, in 2019, to perform live shows. Note that R.E.M.’s guitarist, Peter Buck, guests on “Australia.”
Transmeridian, without a doubt, is one of the year’s best albums because of its graceful, classy sonic flow, brilliant arrangements, and plush vocals.
Transmeridian embraces 13-tracks, beginning with “Antelope Winnebago Club,” opening on fluttering piano notes, followed by a cavernous, measured bassline surrounded by swirling colors.
Highlights include “Australia,” punctuated by gleaming, jangle-laced guitars reminiscent of R.E.M. covering a prog-rock song. Keegan’s dark, dreamy tones infuse the lyrics with wistful timbres. “Harvest Mood” conjures up memories of stripped-down Pink Floyd, rolling out on hazy, creamy layers of sparkling piano coloration, finessed percussion, and light, shimmering guitars.
“Al Aire Libre” fuses Latin flavors with sensuous pop savors, while “Don’t Be Afraid” summons up the Beatles or perhaps, better, John Lennon, projecting low-slung velvety textures, rippling on drifting washes of color.
“Flying Home,” another excellent track, oozes and floats on King Crimson-like prog-rock surfaces embellished by a luscious bassline, fat and almost sporadic, as well as Jamieson’s percussion, simultaneously subtle and refined.
Transmeridian, without a doubt, is one of the year’s best albums because of its graceful, classy sonic flow, brilliant arrangements, and plush vocals.
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