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Formats and Editions
1. Ribcage
2. Fallen Angel
3. Fugitive Motel
4. Snooks (Progress Report)
5. Switching Off
6. Not a Job
7. I've Got Your Number
8. Whisper Grass
9. Buttons and Zips
10. Lay Down Your Cross
11. Crawling With Idiot
12. Grace Under Pressure
13. Flying Dream 143
14. Psalm 114
15. Psalm 115
16. Psalm 116
17. Psalm 117
18. Psalm 118
19. Psalm 119
20. Psalm 120
21. Psalm 121
22. Psalm 122
23. Psalm 123
24. Psalm 124
25. Psalm 125
26. Psalm 126
27. Psalm 127
28. Psalm 128
29. Psalm 129
30. Psalm 130
31. Psalm 131
32. Psalm 132
33. Psalm 133
34. Psalm 134
35. Psalm 135
36. Psalm 136
37. Psalm 137
38. Psalm 138
39. Psalm 139
40. Psalm 140
41. Psalm 141
42. Psalm 142
43. Psalm 143
44. Psalm 144
45. Psalm 145
46. Psalm 146
47. Psalm 147
48. Psalm 148
49. Psalm 149
50. Psalm 150
Reviews:
They may have taken a decade to write their often-sparkling debut Asleep in the Back, but Manchester's Elbow didn't blow their wad. Working from scratch, and with greater expectations, the sinewy quintet fills another CD full of ambitious post-shoegaze throb rock. Songs range from the threatening proto-tribal brute nastiness of "Snooks" to the airy sweetness of "Fugitive Motel" (inspired by touring's insane demand on musicians' romances back home, as well as a typically ratty roadside American no-tell motel in Austin, Texas) to, best of all, the Catherine Wheel-like buzz and shimmer of "Fallen Angel." Singer Guy Garvey moves from sheer silent menace to a warm caring-dad persona and back at will, to fit the lightning squall that threatens behind him but only flashes on tracks like "Snooks." And the band seems looser, as though starting fresh is a less draining experience than pulling together a lifetime's work. Elbow can be as soft and comforting as a fluffy pillow one moment, your peace and tranquility guided by the warm tones of bassist Pete Turner. But just as you relax, worry approaches, slowly but impressionably, like on the opening jolt "Ribcage." Capable of Technicolor beauty ("Not a Job"), they have a curious ability to keep you from getting too complacent for too long. Ben Hiller's foreboding but pretty production fills the room with a riot of fall to winter colors, vibrant and deeply textured, to create epic sweep without the bombast, grace without too much drifting. "They may have taken a decade to write their often-sparkling debut Asleep in the Back, but Manchester's Elbow didn't blow their wad. Working from scratch, and with greater expectations, the sinewy quintet fills another CD full of ambitious post-shoegaze throb rock. Songs range from the threatening proto-tribal brute nastiness of ""Snooks"" to the airy sweetness of ""Fugitive Motel"" (inspired by touring's insane demand on musicians' romances back home, as well as a typically ratty roadside American no-tell motel in Austin, Texas) to, best of all, the Catherine Wheel-like buzz and shimmer of ""Fallen Angel."" Singer Guy Garvey moves from sheer silent menace to a warm caring-dad persona and back at will, to fit the lightning squall that threatens behind him but only flashes on tracks like ""Snooks."" And the band seems looser, as though starting fresh is a less draining experience than pulling together a lifetime's work. Elbow can be as soft and comforting as a fluffy pillow one moment, your peace and tranquility guided by the warm tones of bassist Pete Turner. But just as you relax, worry approaches, slowly but impressionably, like on the opening jolt ""Ribcage."" Capable of Technicolor beauty (""Not a Job""), they have a curious ability to keep you from getting too complacent for too long. Ben Hiller's foreboding but pretty production fills the room with a riot of fall to winter colors, vibrant and deeply textured, to create epic sweep without the bombast, grace without too much drifting."
