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The Life Pursuit

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Belle and Sebastian

 
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The Life Pursuit
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Avg: 4.0 (1384 ratings)

Undeniably jaunty, fusing Thin Lizzy with T. Rex and The Association.

  • We Say...

    Review by Elisabeth Vincentelli

    Whatever you think of Belle and Sebastian, it's hard to disagree with the fact that the Scottish combo is not only remarkably consistent, but it's managed to evolve without cringe-inducing growing pains. B&S have pretty much shed their unbearably twee image, for instance, and without resorting to drastic measures, like recording with Max Martin or hiring stunt guests; instead, Stuart Murdoch and his gang have grown organically, each album building upon the previous one. The band even survived the 2003 departure of Isobel Campbell, whose cello-playing and mellifluous vocals were long thought to be an essential part of the B&S sound.

    This album, the follow-up to 2003's Dear Catastrophe Waitress and second without Campbell, has an undeniably jaunty bounce, but B&S are hardly dance floor kings — it's the arrangements rather than the beats that sneak in sly funky/soul touches. "Sukie in the Graveyard" is buoyed by a bopping organ and subtle horns, for instance, while the clavinet intro to "Song for Sunshine" nods toward classic Stevie Wonder, before the song takes a turn into Sly and the Family Stone territory. But the overall mood is that of a paen to late-'60s/early-'70s sunshine pop ("We Are the Sleepyheads," "White Collar Boy" and its shuffling, delicately glammy Backbeat, "The Blues Are Still Blue" and its little "96 Tears"-like organ coda).

    So yes, it's yet another B&S album, but it's also yet another good B&S album. Any complaints?

  • They Say...

    Review by Stephen Thomas Erlewine, All Music Guide

    Proving that the comeback of 2003's Dear Catastrophe Waitress was no fluke, Belle & Sebastian's sixth full-length album, The Life Pursuit, is a sleek, stylish affair that finds the group quietly pursuing new ground without forsaking its trademark witty, literary, tuneful pop. In retrospect, Dear Catastrophe Waitress wasn't so much a comeback as a restart, finding Stuart Murdoch reasserting himself as the group's undisputed leader in the wake of the departure of Stuart David and Isobel Campbell, but equally as important was the presence of superstar producer Trevor Horn, who didn't gloss up B&S as much as gave them focus and direction, along with a greater musical palette. The Life Pursuit is the logical next step forward, retaining Murdoch's signature wry vignettes but dressing them in new sonic colors. Although their collaboration with Horn started Belle & Sebastian on this path, he has been replaced with producer Tony Hoffer, best known for his work on Beck's Guero, Air's 10,000 Hz Legend, and Supergrass' Life on Other Planets. On each of those records, Hoffer was able to retain the artist's core identity while expanding their musical horizons, and that's the case with The Life Pursuit. Here, Belle & Sebastian dabble in glam rock, lazy lounge jazz, and ersatz blues, enhancing their swinging '60s pop fixation with horn charts, the occasional flute, and Motown rhythms, while even rocking harder than ever before (but that's on a relative scale, of course). This results in a fresh, lively listen, but a rich one too, since there's more to hear in the music as well as the words upon repeated listens. It's not a radical departure for Belle & Sebastian -- there are several intimate, folky numbers that would comfortably fit on their previous records. But having these tunes surrounded by songs that successfully stretch the group's sound gives The Life Pursuit an unexpected, wholly welcome vitality that not only produces a satisfying album, but suggests that a decade removed from their masterwork, If You're Feeling Sinister, Belle & Sebastian have managed to find a way to grow without changing their identity.

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