Belle And Sebastian
Tigermilk

THE REVIEW

Reviewing a music album is by no means an easy task. Music is something so subjective that making your review reliable and objective is almost impossible... and yet comments purely related to the emotions the album manages to convey are often unavoidable, even if they refer to something entirely personal.

Now, reviewing a Belle & Sebastian album and being objective is something possible but pointless. Their music is mainly based on constant emotions and the pathos that the songs can evoke in those who have the right sensitivity to appreciate this genre. You can't really talk about impeccable technique, a breathtaking voice, generational anthems. Yet, falling in love with them was all too easy for me, because of the disarming beauty of their innate simplicity.

Their music is genuine, it's delicate, and the verses Murdoch sings almost timidly in that masterpiece called "Tigermilk", tap on our eardrums with a gentle touch, and it's entirely up to us to welcome them. Because at a superficial listen, Belle & Sebastian are less than nothing. Catchy little songs and often irresistibly captivating, simple tunes to hum while driving or walking.
But try to listen to Belle & Sebastian more deeply. Profound lyrics, often true poetry, blend very touchingly with their melodies, and these can always keep you company, suitable for various moments, without ever becoming boring or heavy.
Indeed, Belle & Sebastian are not heavy at all. In every sense. And this "Tigermilk," which is one of the great discoveries of my summer, is proof that their music, timidly and with a very sweet insecurity, deserves the affection of many, and often even more.

"Oh, I was surprised. I was happy for a day, in 1975".

This is how the touching "The State that I am in" begins. And read that first sentence carefully, which encompasses so much within it. What do you expect from a person who still remembers they were surprised to be happy for a day, twenty years ago? A person certainly not used to happy days. And then you will have already guessed that it's hard to read joyful confessions from Stuart Murdoch.
And it begins by recounting a dream, in which his brother confessed his homosexuality on his sister's wedding day. Well, get used to these tales of ordinary life, stories of real people. Because that's what the Scottish band does: tells stories, stories of people in difficulty, stories of dreams and fears.
And "The State that I am in" has a structure that will repeatedly recur in the first track of their subsequent albums: It starts with just the voice, and gradually various instruments are added, creating a beautiful effect. It's as if Stuart Murdoch is on his own singing, and magically evocative music surrounds and accompanies him through a series of beautiful tracks, as he narrates in verses all that his brilliant mind has to tell.

"They used you, you're confused. Write a song, I'll sing it with you. Are you calm? Rest assured, soon you'll know you're sane. You're back on top of the world".

"Expectations" is a poignant track that addresses a girl suffocated by expectations and a life she doesn't want. The chorus quoted above is touching, while the upbeat music pleasantly blends with Murdoch's singing. The entire lyric is equally touching.

"Chelsea was the one who suffered abuse, this changed her life philosophy in '82. She says 'An eye for an eye, a tooth for a tooth!', who needs boys when Lisa is around?"

"She's Losing It" is simply a delightful dive into the distant 1920s. Everything, from the instruments to the piece's chorus, evokes that period, and the enchanting track tells the story of a lesbian girl whose life changed after suffering abuse in '82. This is a typical example of the B&S style with that vintage and highly evocative flavor, which can also be found in the following track.

"You're just a child, little girl, so kiss me on the cheek before going to school"
It's easy to understand what "You're Just a Baby" is about. A love affair between a man and a girl still going to school, whom he addresses as if she's a child. The piece is engaging and quite fast, also in pure Belle and Sebastian style with a fantastic chorus.

"Monochrome in the 90s, you go clubbing, I’ll go my way."
Here's what is undoubtedly the most peculiar piece of the album. "Electronic Renaissance" describes the 90s disco culture. The song ends by saying "Take a pill and say hello," referring precisely to the widespread use of drugs in clubs. The music itself is created from distorted sounds, and the voice is affected by a particular sound effect, and soon a persistent drum joins, making the song a special and beautiful moment.

"If you had such a dream would you wake up and do the things you dreamed about?"
This is the question Stuart poses to the listener in "I Could Be Dreaming", an emotional crescendo culminating with the ethereal voice of Isobel Campbell, the female voice that for the first time comes forward pronouncing a long series of words.

"You know the world is made for men, not for us."
And here we reach the album's most delicate track. A piano accompanies Murdoch's melancholy voice in "We Rule The School," a poignant and evocative piece where the singer pauses to observe the initials NC carved in a trunk, wondering about their story, and then that phrase, "We rule the school," written at the bus stop. He invites the person to whom the song is addressed to do something nice, now and then, like reading the Gospel, or doing a twirl on the ice. And the melancholy way of ending the piece, with a pessimistic phrase such as "the world is made for men, not for us," highlights the weaknesses and insecurities in which the singer lives.

"With the story of Sebastian and the singer, Bell"
"My Wandering Days Are Over" seems to have been written after Stuart met the beautiful Isobel, who then became a cellist and second voice. The piece boasts the typical catchy sound and an easily assimilable chorus, and very particular lyrics: "You know my wandering days are over, does it mean I'm getting boring?".

"I don't love anything, not even Christmas. That in particular. I don't love anything."
If I had to personally award the track with the most impactful lyrics, it would be all too easy for me to choose "I Don’t Love Anyone". Murdoch is not afraid to sing and repeat that no, he doesn’t love anyone, he doesn’t love anything. He doesn't even love Christmas. An ever-present drum and a compelling rhythm accompany one of my all-time favorite lyrics. Stuart's sincerity makes this song one of the many gems written by the band.

"Because life is never dull in your dreams. It’s a shame it doesn’t go the way you see it."
Here we are at the closing track, opened by a smooth flute melody. "Mary Jo" tells an entirely invented story, inspired by Murdoch from seeing a girl on the other side of the street on an ordinary day. And he loves to fantasize so much, the singer of B&S, that out comes the story of Mary Jo, who sits alone at home drinking tea, who went through hell but came out stronger, who left many men behind for women and clandestine love.

In general the album is a pleasure that never tires. Belle & Sebastian never exaggerate, never go over the limit, but never lose tone, never feel empty. The group consists of numerous musicians, and many instruments are involved in various tracks of their albums.
"Tigermilk," prepared in 5 days for a university competition, assures them the expected victory and much, much more. A limited edition of the album on vinyl soon becomes the desire of many, and only years later, due to high demand, the album is reissued on CD, still with its charming cover depicting a young girl nursing a stuffed tiger.

What Belle & Sebastian were at their inception, who knows if they still are, or if they will continue to be. Because insecurity, inexperience, shyness, and delicacy make "Tigermilk" beautiful beyond any words of mine.