The expression "here be monsters" was borne of ancient cartographers - uncharted waters on maps were emblazoned with the phrase to indicate an area where man has never ventured. Although Ed Harcourt's album of the same name might not be entirely uncharted territory, the 23-year-old Brit's release is an astounding presentation of musicality and lyricism far beyond both his years and the scope of recent albums from comparable artists.
For all practical purposes, "Here Be Monsters" is Harcourt's debut album, following the critically acclaimed six-track "Maplewood." The listening public didn't receive the previous release nearly as well as the hype now surrounding Harcourt might indicate. The indie community, however, has embraced Harcourt as their new darling, drawing comparisons to "Pablo"-era Radiohead, Tom Waits and even Todd Rundgren. And although the comparisons remain questionable, Harcourt's talent is not.
The album's opening track, "Something in My Eye," induces sleep while introducing Harcourt's material - it would have been far better suited following "Shanghai," "Apple of my Eye" or a similarly upbeat track. To the track's credit, though, it is lyrically adequate as an opening piece, declaring "There's something in my eye / bloodshot in disguise / God knows I really tried."
This is not to say that "Something" is a weak track. Its lulling acoustic intro develops into an intriguing and contemplative melody, far from reaching tedium. In fact, one would be hard-pressed to find a genuinely lackluster track on the album.
Previously a chef and the bassist of mediocre band Snug, Harcourt had his share of struggles before finally releasing his album. Its release marks the fulfillment of his openly stated ambitions, also stated in "Something": "Making the big time, aiming to climb high."
Harcourt, who plays everything from guitar to saxophone to synth, has crafted a musical work of art that flows beautifully from thoughtful to lighthearted songs. Soaring with stunning control and texture, his voice proves the ultimate instrument, particularly between tracks of different emotional compositions. The tortured spirit of "Those Crimson Tears," for instance, vanishes the instant the good-humored "Hanging with the Wrong Crowd" begins.
The highlight of "Monsters" is "Beneath the Heart of Darkness," a mid-album masterpiece that pulses with industrial undertones and is without doubt Harcourt's most impassioned track. The song is divided into three segments of epic proportion. Delicate vibes and carefully articulated lyrics in the first segment make for a mildly anguished but generally reflective soundscape. A jagged guitar's foreshadowing and a tremulous string section smoothly transition into the dissonance and serration of the middle segment - to perpetuate the oft-cited Radiohead comparison, this particular representation is more indicative of "Kid A's" presence in Harcourt's collection. Finally, the two-minute resolution of the piece makes poignant use of masterfully crafted chords, minimalism and a floating French horn line.
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The flawless transition into the following piece, "Wind Through the Trees," picks up on the calm-after-the-storm conclusion of "Darkness." Harcourt's breathy, nearly inaudible lyrics are doleful but striking, ethereal but penetrating - a haunting paradox that is maintained through the nearly seven minute track. Such are the songs that Harcourt does best: those that not only tell stories with the lyrics, but create nearly tangible atmospheres wherein the stories may cavort.
Only in the rarest circumstances can one consider a debut album a superior performance. Harcourt, however, leaves very little room for improvement in future work, leaving us to wonder what uncharted territory he may conquer next.
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