# The Divine Comedy



## beetzart (Dec 30, 2009)

I enjoy listening to this band. They often use classical influences in their tracks. Some of the music is so rich in melody and is a refreshing change to other 'pop' music.


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## Jeremy Marchant (Mar 11, 2010)

Let me join you.

I first came across DC when Joby Talbot was commissioned to write a choral piece (_Finding silence_) for the choir I used to sing in, Crouch End Festival Chorus. At that time, he didn't have a publisher, so the choir undertook to produce the orchestral score and parts, and the vocal score, and I got the job of doing this using Sibelius. So, I had a number of meetings with Joby and, when he was signed up by Chester, got the chance to produce the scores of some of his later works. The post concert party duly happened and I found myself talking to this somewhat diminutive friend of Joby's. It was, of course, Mr Hannon (though I didn't know that at the time).

I think Neil's songs on the early albums were excellent. When Joby joined, he added a sophistication in the arrangements which the songs could well take. Listen to the two versions of _Timewatching_, the earlier one (on _Liberation_) arranged competently by Neil, but the later (on _A short album..._) by Joby is a factor ten better. It is an object lesson in what a formal training in music equips you to do ("classical" if you insist).

Of course, Neil was influenced by Michael Nyman, almost gauchely so, as on the intro to _Don't look down_ (_Promenade_).

But one of the main parallels with "classical" composers of art songs is his ability to encapsulate a whole story in a few words, and then throw in a touching/compelling chord structure to underline it. _Bernice bobs her hair_ (_Liberation_) is a whole F Scott Fitzgerald short story expertly boiled down to a few verses and strongly presented in a familiar idiom just tweaked enough to make it individual and fresh.

My only reservation about the early albums is Neil's over-reliance on a particular way of constructing the music which is exemplified by _Your daddy's car_ (_Liberation_). The first line of the first verse has a little tune, the second line has the same tune a second higher, the third line has the same tune a second higher still. Only at the fourth line does the pattern break. It's a rather common device in the early CDs which Neil took some time to shake off.

With the arrival of Joby as orchestrator (_Casanova _and _A short album..._), the casual listener may be beguiled by the clever orchestration into thinking the music is more "classical" but, as I've tried to argue above, that isn't what "classical" songs are about. So, in _Someone _(_A short album..._) the presence of a big orchestra in the first few minutes doesn't make it classically-influenced, though I must say the lengthy non-vocal conclusion is Joby wringing as much out of the material as he can - which is a "classical" trait.

By _Fin de siecle_, on which Neil got his wish to have not only a decent sized orchestra but also a big choir (my old mob, but I had left by then, so I don't appear), I feel the standard of writing had fallen off a little; _Regeneration_, despite the optimistic title for a new label, sagged a little more. I don't know _Absent friends_, but Joby is absent on the next, _Victory for the comic muse_, and it shows. Disappointing.

But then how many artists have produced more than two albums of decent material - assessing this solely on musical grounds? _Liberation_, _Promenade_, _Casanova _and _A short album about love_ are packed with excellent songs: witty, clever, fun and listenable. If then ext two albums disappoint a little, it is only as measured by the high standards Neil has already set. Neil is well ahead of the pack, if only by virtue of his back catalogue. And Schubert's reputation is secure, solely on the basis of _his _back catalogue.


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## are fiefs (Apr 1, 2010)

Ah, Enniskillen's finest; wonderful lyrics and munificent melodies.

Master Hannon, to my mind at least, most definitely possesses one of popular music's keenest wits, although in truth, it is his more achingly sentimental work that lingers longest in this one's wayward heart.

In any case, 'Summerhouse' has remained one of my favourite songs for many years now, and I assume that it always will be, such effortlessly wistful beauty shall never be out of fashion (that is, if it was in fashion in the first place).

I may as well post a link to the aforementioned, just in case any inveterately curious fellows happen to pass by.


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