The Olympic Symphonium – More in Sorrow Than in Anger

The Olympic Symphonium are a Canadian trio of multi-instrumentalists hailing from New Brunswick ”“ Nick Cobham, Graeme Walker, and Kyle Cunjak. As seems common in the swinging East Canadian coast scene (that even receives federal arts funding), all have spent and continue to spend time with several other bands of multiple genres before jumping into bed together again here for their second release (Walker’s bass playing for Grand Theft Bus is reviewed here). The Olympic Symphonium is meant to be an outlet for a more delicate and intricate folk pop style than they are often allowed in their other higher energy endeavours. As such its members seem to have found a mutually fulfilling cosy new home, and proceeded to kick off their shoes, relax and enjoy themselves - to the extent that it may well become their primary focus.Their mission statement for contemplative strumming loveliness is made clear from the off. In fact though, strumming is not an altogether appropriate description - there's more finesse involved and the extra precision of plucking is usually more in evidence. It's too well crafted and intricate to be called lo-fi, but if has the same lean, intimate spirit. Where electricity is employed, it is supplementary: decorative and often ephemeral - wisps of slide guitar weaving in and out of the gaps in the mix. This is utilised most effectively on 'Dead Man's Inn', where local atmospherics like a creaking chair within the room also feature with nothing else to drown them out.'Intentions Alone' and 'Blood From A Stone stand out as the catchiest tracks. The first is almost poppy as it shuffles along with chirpy banjo; the second a delightful traditional slow country waltz from Walker. However, songs of romantic longing like 'The Note', 'Side By Side' and 'Malleable' somehow stick stronger in the memory. The latter is almost a lullaby with dreamy whistling and a lone acoustic guitar seeing the trio at their most skeletal. The Olympic Symphonium are never too far from musical anorexia though, and this is what makes the album so enjoyable - the restraint and winning touch that finds the few chosen components always in their right place. Whilst in one sense there's not a lot going on, its thoughtful brooding nuances and personal lyrics do reveal themselves over multiple listens. Rose Cousin and Catherine McLellan lend smoky backing vocals from time to time, but the trio harmonise well themselves too, with 'Oh Dear' using this to fullest effect to recall the country folk of CSNY, or should I say Fleet Foxes these days. They don't always feature, but crisp drums from Bob Deveau keeps everything fresh when required. Only final song 'Through The Day' has a hint of menace as an understated climax builds.Each tune seems to compliment and merge seamlessly into the next, without implying loss of interest. This album is like a patchwork quilt where each segment has its own character, but they work together to form a unified comforting whole. A thing of homespun beauty. 78%The Olympic Symphonium on MySpace