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Understand
- Hot Press
One of the most popular misconceptions regarding music is that its optimum
environment is a social one, operating as a soundtrack for communal
bonding or providing a token focus for horse and foreplay on a grand
scale. Personally, I still prefer to listen to my favourite records
in complete and utter isolation, unburdened by the possibility that
someone in the vicinity might not be squeezing the same amount of pleasure
out of what's on offer. Therefore "Understand" won't be whipped
out of its sleeve should a gang of friends pile back after the pub some
night... just on the off-chance they won't be mesmerised.
"Understand" is subdued, subtle and, at times, unbearably
sad. If it's references you're looking for then spin a bottle betweebn
the more reflective moments of The Go-Betweens and The Stars Of Heaven
and plant a big sloppy kiss wherever it points, but to constrict Brian's
mainman Ken Sweeney within such, albeit illustrious, parameters would
be seriously devaluing the significance of this eight-song sketchbook,
giving us, as it does, a glimpse of the first tentative steps of an
evocative and haunting songwriting talent.
Like The Go-Betweens' Forster and McLennanm Ken Sweeney conjures swathes
of imagery with the simplest of lines, never wasting a word, never slipping
into obscure imagery and always - always - having a top tune to complement
the lyrics.
For what was essentially a one-man show, recorded on an eight-track
for an obscenely small amount of money "Understand" is extraordinarily
rich in texture. Guitars, mandolins and basses cloak the songs, with
synthesised strings adding impressive uplift where required.
Thematically you could describe "Understand" as dealing with
coming to grips with disappointment, the dawning of realisation that
life isn't a magic carpet ride but you still have to haul your arse
out of bed each morning - or afternoon, if you're in this busuness -
and just get on with it.
As I said earlier, at times this sounds quite sad but in a very uplifting
way, "Big Green Eyes" dripping with longing, "You Can't
Call Home" almost teetering into anger and the first two singles
"A Million Miles" and "You Don't Want A Boyfriend"
positively soaring with resigned dignity.
After you've listened to "Understand" a few dozen times -
you will! you will! - the pingin will eventually drop that the title
is a paradox and what you've got is an evocative, emotionally charged
catalogue of one man's confusion at the loss of innocence. You also
have eight heart-warming and thoroughly wonderful pop songs, songs that
confirm your belief in just how special you really are.
These songs belong together. Enough said.
George Byrne
- Select - May 1992
Dublin's Brian have the cool headed simplicity and devastating effectiveness
of early Smiths. This mini-LP debut - played, written and produced by
Ken Sweeney - is an album of nostalgia and exorcism.
"We will talk, through a summer/Of football and football teams/Along
a road, that leads west," lilts "Big Green Eyes" lazily.
Brian evoke moods we've all experienced. The music fills the background
with perfect strokes, a suitable distant guitar here, a haunting arpeggio
here, or the rasping, embittered strumming of "You Can't Call Home".
With such soul bearing clarity and sensitivity, "Understand"
hints at fledgling American Music Club. And we all thought the art of
real songwriting was dying...
Nick Griffiths
- Spiral Scratch
The exact reason why a Dublin man called Ken Sweeney should call himself
Brian for the purposes of his music is something completely beyond me.
But then I don't fully understand Plato's syposium on love either; so
that's not really saying a lot. What I am beginning to understand is
that Setanta currently posesses one of the finest stables around, of
which Brian is an integral member. In much the same way A House transform
apparently superficial melodies into perceptive impressions of life,
Brian hides his turmoil behind beautifully radiant rhythms and a voice
so fragile that it seems permanently on the brink of collapse. On the
like of "You Can't Call Home" and "Don't Leave Me Behind"
this merely serves to strengthen the power and poignancy of Brian's
frighteningly intuitive lyrics it's almost as if we're being offered
an insight into his most private, personal life and as such the listener
can only feel intrusive. Although an essentially warm, inviting collection
of songs Understand couples restrained, reserved vocals with a lyrical
content that can best be described as melancholic. There may not be
many laughs to be had from this album but as a debut release it's an
astonishing achievement
Ian Cheek
- Volume
Something to drive your hardcore friends from the room, "Understand"
is a fiercely quiet album. Any quieter and it'd need a headstone. Ken
Sweeney, the man behind every note on this album, is a gifted songwriter
and his voice walks the line between timidity and all-out silence. Listen
to the title track and the shattering "Time Stood Still" first
to get an idea of what you're letting yourself in for. Some of the songs
here will reduce you to extended sighing, others will simply murder
you. A very beautiful thing to have in your home.
Graham Linehan
- Melody Maker
Brian understands that there are few things more mournful than the sound
of mandolins, Brian understands that sometimes the most troublesome
relationship is your relationship with the past. Brian understands that
the word "summer" is one of the saddest in the language. Brian
understands all about elliptical arpeggios and yearning melodies that
never resolve. Brian understands that the key to your heart is a minor
key.
Brian understands that if you can't get your mandolins, a speeded-up
guitar will fool your ears and tear-ducts perfectly. Brian understands
that you can make a loveable record with just £100 and a plimsoll-bag
full of memories. Brian understands that the Irish are at their most
melancholy in exile. Brian understands how to how to combine the most
basic components into giddy, mesmeric pop songs.
Brian Understands that "maybe being hurt wasn't a bad thing".
Brian understands that Sarah records doesn't have a monopoly on this
sort of thing. Brian understands the potency of the word "remember".
Brian understands what it means to be insecure and bewildered. Brian
understands that everyone else in this world is insecure and bewildered
too. Brian understands that pathos has its compensations. Brian understands
which chords sound most like regret. Brian understands the concept of
nostalgia for the future. Brian understands that "it's not too
late". Brian understands that "understand" is the saddest
word in the language.
Jim Arundel
- Vox
In the quality stakes, Setanta has a remarkably high hit rate, with
A House, Into Paradise and the great Frank And Walters establishing
it as one of this country's more credible indies. Brian, the solo project
of one Ken Sweeney, presents a departure from the label's guitar pop
motif, but given the quality and sincerity of the man's songwriting,
it's a clear case of vive la difference.
This mini-album makes a virtue of under-production and under-statement,
and its musical bent derives from the Byrds inspired indie school. The
inherent sensitivity of the songs, however, is unique to their young
Dublin author's tender heart, but although fragile, lovelorn numbers
like "You Don't Want A Boyfriend" and "Don't Leave Me
Behind" seem monumentally personal, Brian's little pills of misery
are coated with a sumptious, synthesised wash. (7)
Leo Finlay
- Irish Independent
I don't know whether Keith Cullen of Setanta Records is a betting man
but given the current roster on his label I'd suggest he pluck six Lotto
numbers out of the air NOW even if only to give himself a slightly more
comfortable promotional budget.
The Frank And Walters, A House, Into Paradise and Divine Comedy are
just four acts who've graced Setanta releases and to that illustrious
crew we can now add the name Brian.
Initially a duo but now down to the core of Dubliner Ken Sweeney, Brian's
eight song debut "Understand" is a triumph of warm, emotive
songwriting. "Understand" understates its case quite beautifully,
coating fragile melodies with protective layers of jangling guitars
(a particular favourite in these parts!) and applying orchestral sweeps
of the keyboard to magnificent effect on "Big Green Eyes"
and last years outstanding single "You Don't Want A Boyfriend".
The sheer quality of the songwriting is exemplary throughout, Ken Sweeney
having a wonderful knack of creating emotive images with the simplest
of lines. This subtle, almost cinematic approach to his songs recalls
The Go-Betweens at their best, with "Don't Leave Me Behind"
and the breathtaking "A Million Miles" prompting comparison
with such suggestive masterpices as "Cattle And Cane" and
"Bachelor Kisses".
Recorded for the bargain price of £100 (yes, one ton!), "Understand"
offers a rich, resonant collection of songs which are light years from
what we've come to expect from Irish bands. This is gorgeous, thought
provoking and moving pop music. Unreservedly
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