Belbury Poly returns on February 24 with a new album, The Belbury Tales.
The solo project of Ghost Box co-founder Jim Jupp, the ‘Poly has been responsible for some of the finest releases in the label’s catalogue, most notably 2004′s The Willows (which was named among FACT’s 100 best albums of the 2000s). The Belbury Tales is his fourth album to date, and the follow-up to 2009′s From An Ancient Star.
Though its mood and aesthetic is very much in keeping with previous Belbury offerings, sonically speaking The Belbury Tales has a more live, organic feel than we’ve come to expect – the result not just of substantial contributions from Jim Musgrave (drums) and Christopher Budd (bass, electric guitar), but of Jupp himself playing guitar, zithers, melodic and ocarina as well as his usual analogue synths and keyboards. Voices too – presumably sampled – are deployed to suitably bewitching effect on ‘Green Grass Grows’, ‘My Hands’ and especially ‘The Geography’.
The library music of Basil Kirchin is an obvious reference point, as perhaps is the electronically-enhanced British jazz of Neil Ardley, and some of the more whimsical, folk-influenced prog records to have emerged from the mists Albion in days of old – The Belbury Tales is the kind of record you feel should have come out on Vertigo around ’73, but never actually did.
The cover art and design is, as with all Ghost Box releases, by Julian House, beautifully evoking the cover of a wyrd fiction paperback from the 1970s. Also included in the booklet is ‘The Journeyman’s Tale’, a piece of short fiction by Rob Young, whose 2010 non-fiction book Electric Eden convincingly positioned Ghost Box and its artists as part of Britain’s visionary folk continuum, and a short quote from the late Trish Keenan of Broadcast: “It seems to me that the past is always happening now. In the present we are always memory.”
We’ve not had long to digest The Belbury Tales, but it’s already safe to say that in terms of both music and concept it’s one of the most rewarding and fully realised projects in the Ghost Box catalogue – and that’s high praise indeed.
FACT’s Tim Purdom caught up with Jupp to find out more about the making of this remarkable record, and to hear how he’s at pains to avoid venturing into what he calls “Clarkson/Wakeman territory”. Jim has also recorded an exclusive mix for FACT, which you can stream via the Mixcloud player above.
“Well, I like to think that time doesn’t flow in the same way in Belbury as elsewhere – so nothing has changed, but it’s all happening now. Its’ a question of where we focus our attention with each Ghost Box release. But it’s being noticed that Belbury Poly sometimes has extra members and an occasional electric sound.”
1970s British prog is a palpable influence on The Belbury Tales. Can you tell me a little bit more about your relationship to this oft-maligned music?
“I’m a fan of a particular strain of English prog, and particularly all the stuff that grew out of the Canterbury scene. I love Caravan, certainly one of the poppiest and accessible of great British prog rock acts. Caravan manage to typify the intricate long form music of prog but with a joyful lightness of touch – which I think overlaps with the light music and soundtrack music that’s always influenced my work as Belbury Poly.
“It’s not a prog rock album, I don’t think.”
“At a more technical level I’m a great admirer of the production sounds and musicianship in Caravan, Hatfield and The North, Egg, Soft Machine and so on. And Mike Ratledge and Dave Sinclair are keyboard heroes of mine.”
But you’ve not quite made a prog album. Or have you?
“No. While the sound and feel of British prog is an influence on The Belbury Tales, it’s only one element. It’s not a prog rock album, I don’t think; it has just as much to do with TV soundtracks, library music, kosmische and psychedelic rock.”
You really home in on a folkloric, neo-medievalist sound on this album. I feel like I’ve heard 70s records from Britain that captured that essence or channelled such things in a prog context, but I struggle to think what. Are there any particular records from that era which project this darkly arcadian, mythology-steeped vibe?
“I definitely recognise this essence in a lot of 70s music, and with this album hopefully I’ve explored just that without referencing a particular group or scene or album or genre - but I have freely grabbed sounds, musical elements and production styles from a range of sources that I feel feed into this kind of folky, electronic, rocky, jazzy, hairy sounding current of a lot of early to mid-seventies albums. Along the way I reference Anatolian Psych Rock, TV themes like How and Hammer House of Horror, Dave Sinclair’s trademark fuzz organ sound, educational and poetry albums, the cod-medieval musical stylings that went with some of the later electric folk acts – perhaps all the overblown, and over-detailed stuff that had reached critical mass by 1977.”
“As odd as it sounds, this idea of the ploughman’s lunch was kicking round at the back of my head for most of the time.”
Who are the additional players and what are their roles in The Belbury Tales?
“Christopher Budd is an old friend of mine who cut his teeth as a bass player in live bands and now works as a composer and bass and guitar session player. He’s on a similar musical wavelength to me and is a lover of film soundtracks and psych rock; he co-wrote the track ‘Earthlights’ on the new album. I’m a selfish composer and not always comfortable collaborating – but I think Chris and I will probably continue to work on stuff together from time to time.
“Jim Musgrave came to my attention when he sent me some of his work as Land Equivalents – I immediately heard precisely the drum sounds and playing style that I was looking for on some of these new tracks and got in touch to arrange some remote sessions. Not the best way for any drummer to work, but Jim was able to work in his own studio and replace the programmed drum tracks on my early mixes. He’s very professional, musical and proficient, and has the technical know-how to record and work in this way.”