The Word Review - Safety In Movement - July 2010
"A cheap cover with some trees on it, "man and laptop" - to me this spelt morose, possibly rather tinny folk music. But Safety In Movement is a remarkable thing - a strange lo-fi tardis of an album whose nine subtle songs unroll from the speakers like a soundtrack to some bedsit kingdom. Arise is acoustic Pink Floyd; Loop & Lil is a druid-like meditation on three strings that makes you stop working and stare out the window. The thrill here is great songwriting with an appearance of effortlessness. Edinburgh-based Haswell has been working on it for 2 years and has apparently recorded 20 albums to date - under the names Rhubarb and G For Gnome".
Americana UK Review - Safety In Movement - July 2010
Scottish bedroom pop Etudes
Haswell has recorded over 20 albums under the guise of G For Gnome and Rhubarb, but his newest venture falls under the far less silly moniker of his own name, and was tellingly two and a half years in the making. It sounds like it too. Haswell has a real DIY ethic to his music production, laying down the whole thing at home via laptap using just acoustic guitar, keyboards and drum programs, with some added bass, mandolin and effects from guests.
The sparse folk-hued opener ‘Magnetic North’ is something of a curveball as it resembles little else at all on the record; as for the remainder of ‘Safety In Movement’ Haswell comes on like a bedroom Radiohead, with traces also of other Caledonian pop-rock stalwarts thrown in amongst the walls of orchestrated noise and ambience.
Haswell shows himself to be an inspired arranger and sonic visionary throughout these nine DIY voyages into sound. The likes of ‘Dream Hill’ and ‘The Rings of Saturn’ sport an insistent drive and have definite traces of Radiohead’s skittering electronic aesthetics, experimentation, and impressive shards of noise nailed to it’s tail end.
‘Cause and Effect’ has Indie hit writ large all over it, what with its walls of electronics, rock anthemics and subtle guitar lines. Haswell’s usual dour vocals get raised on the chorus, and could be the album’s best rock song, though hints that his well written and realised songs could benefit from a more accomplished or expressive vocalist to present them.
‘Post-Goldrush Blues’ is the set’s most charming song. A real homemade paean with it’s archaic sounding drum machine clicking away, while Haswell charts the demise of a local record shop (Perth’s Goldrush Records, whose memory the album is also dedicated to) and the profound effect the contents of the shop had on local’s lives. Alt-Country aficionados wont be able to help but smile at his suggestion that you “Ditch those Beatles records and buy some Neil Young, then invest in a vinyl copy of ‘Old Number 1’” alongside its derision at hard drives, MP3s and modern day consumerist music culture.
No doubt Haswell is perfectly happy in his homemade DIY music capsule thank you very much, and good for him. He has very interesting songs, clearly has the ideas, and most of all the production talent and vision. However if he wants his work to get the attention it deserves he wouldn’t do badly getting hired help in presenting it.
Joe's Big Toe Fanzine Review - Safety In Movement - May 2010
Richard Haswell has previously been known as “Rhubarb” and “G for Gnome”. For his latest album, however, he has ditched the monikers and is using his real name. This move reflects the overall feel of the album. It is accomplished and grown-up, and his twenty self-released album experience shines through.
The album starts slowly. The first track, Magnetic North, is sparse and quiet, and it feels a bit like you’re sitting in his living room, listening to him playing his new song — there’s a sense of trepidation, as though he’s concerned you’re not going to like it. As the short song continues, though, his confidence seems to build. Which is good news, because the second song has guts. A solid drum loop propels the song forward, and Haswell plays a repetitive, Stereophonics-esque melody. What really stands out in this track though is the e-bowed lead guitar, which clashes beautifully with the rest of the instruments. By track three though, Haswell is beginning to show off his true colours.
There’s a sense of despondency across the album, a post-apocalyptic sort of feel, particularly in Loop & Lil, track five, which would not have sounded out of place halfway through a Godspeed You! Black Emperor track. A few seconds after it finishes though, Haswell launches into a more melodic, slightly more upbeat number, and that e-bowed lead guitar is back again. as the album starts to wind down in the final few tracks. “Ditch those Beatles records, and buy some Neil Young”, advises Haswell in Post Goldrush Blues, a song lamenting the death of music. I doubt anyone’s going to be singing “ditch those Neil Young records, and buy some Richard Haswell” in twenty years time, partly because it’s two syllables too long, but if you were to walk past my house on a quiet, rainy evening, twenty years from now, you might hear Magnetic North, not Southern Man, drifting out from my CD player.
Bluesbunny Muisc Reviews - Safety In Movement - May 2010
In the bedrooms of this green and pleasant land live men who ponder life and record those thoughts on their laptops. Richard Haswell - also of critic's favourite Rhubarb - is one such ponderer and a prolific one at that.
Onwards and upwards as the saying goes. Well maybe not upwards as this is undoubtedly an introspective collection of songs. I don't know how old Mr Haswell is but you get the impression that he has passed the halfway mark and is therefore spending rather more of his time looking backwards than he used to. Certainly there is plenty of sentimentality here especially in the delicate "Magnetic North" and in "Post Goldrush Blues" - the ode to a defunct record company - while the echoes of classic Scottish guitar pop bubble to the surface and add life to the robotic regimentation of songs like "Rings of Saturn".
Similarly dark, "Arise" has the feel of a folk singer who has given up on writing about the Clearances and now spends his time staring out of his bedroom window at the urban emptiness that surrounds his own life. Having said that, one man's melancholy is another man's insight into the human condition. It's almost philosophy by Morrissey.
I can see this album having a resonance for a lot of people in these days of recession and depression but I also have to say that this is something of a soundtrack for the shadows and there is more to life than the shadows.
Leonard's Lair review June 2010
Richard Haswell is an Edinburgh-based singer-songwriter who has self-released twenty albums to date. Intriguingly, his former projects include the dubiously-named Rhubarb and G For Gnome but based on this recording under his own name, his concerns are more grounded this time around.
Haswell’s soothing tones are tailor-made for comfort listening from the moment we hear him on ‘Magnetic North’ and when wife Shelley joins in, the song sounds even more intimate. At the other end of the scale, ‘Cause & Effect’ has the full epic band effect. Mostly though, his music is rather subtle; tracks like ‘Arise’ and ‘Driftwood’ possess a pastoral dreamlike atmosphere in keeping with the blurred cover art. The same cannot be said, however, for ‘Dream Hill’ which is discordant and unlistenable. Thankfully the chiming melody to ‘Post Goldrush Blues’ (a song which bemoans the death of music) is memorable for the right reasons and makes up fo that aberration.
Haswell’s vocals are rich with experience and sometimes I couldn’t tell whether I was listening to a 1970′s folk-rock veteran or a sonic experimentalist (witness the psychedelic/shoegazing finale to ‘The Rings Of Saturn’). What is more important is that his music is enjoyable to listen to and different enough to mark him out as a true independent artist.
AllGigs.co.uk Review - Safety In Movement - June 2010
Edinburgh singer songwriter Richard Haswell has amassed over 20 albums during his career without ever becoming an overly well known figure. Most of his music makes for very good listening without ever being excellent and this release is another one from that particular stable.
The album is solid from start to finish, with some fine acoustic work. There isn't a bad track on the album which is always a good thing and a few of the tracks standout as clear highlights, including 'Magnetic North', 'Arise' and the excellent 'Driftwood.' The albums main failure is in its production. Apparently it was recorded on his laptop which actually makes it quite a good result the fact that it sounds this good but unfortunately at times, especially without vocals, the album is mired with a tinny sound that distracts and annoys. I will say now it is not nearly enough to ruin what is another good release from the Scotsman but it may annoy people who like their production values high.
Overall though this is another fine set from Haswell, and his level of consistency over the years without any major financial backing is something that can only be admired. Acoustic fans could do worse than to pick up this long player. - Patrick McKiernan
Is This Music Review of Safety In Movement - May 2010
If Richard Haswell was better known there would be riots outside the offices of dictionary specialists HarperCollins, for the word ‘prolific’ would be too restrictive - crowds would throw random letters at the building with reckless abandon in a vain attempt to create new words to describe the impressive work ethic of the Edinburgh musician. Okay, probably not but with Safety in Movement his twentieth album, we know this dude means business.
The challenge with this latest album from Haswell is not the quality of the songs, which would invariably score a creditable ‘not bad’ by anyone’s criteria but the sheer lightness of the production, which gives the music an uncommonly delicate feel that is difficult to really relax around, like sitting under a tree only to have leaves fall on you steadily. Peaceably wandering through forty minutes of pleasant folk-rock, there is a lot to enjoy on this album, especially if you have some spare time to lie perfectly still.
The only problems are that the songs lack bite, there’s some great ideas that are diluted in overly long songs when something shorter would have had greater effect. Perhaps that was contrary to Haswell’s intentions but it leaves Safety In Movement with an overbearing feeling of unfulfilled potential. ‘Arise’ and ‘The Rings of Saturn’ would benefit in more slender renditions, the latter certainly doesn’t need to be pushing seven minutes, and it’s telling that ‘Magnetic North’, the shortest song on the album, is one that has the most lasting impact.
There’s also the amusing ‘Post Goldrush Blues’, which is a protest song in support of Neil Young, requesting that we discard our Beatles albums in favour of Neil Young (because surely nobody could have both?), come on! That’s like trading an orange for a satsuma. There are more worthy villains on the music scene than Paul and John surely. This is definitely a good, if flawed, album but its difficult not to view this as something of a missed opportunity. It could be a lot better.
Subba-Cultcha Review - Safety In Movement - July 2010
Prolific Scottish troubadour on album number 20. Sometimes less is more!
Edinburgh musician Richard Haswell has been skirting the surface for 15 years now releasing over 20 albums and EP's under the name of Rhubarb as well as under his own name and via numerous 'side-projects'. He is that rare beast, a man who has managed to maintain an enviable level of creativity whilst never conceding to the demands of the mainstream, conversely this has meant he'll probably never be able to quit the day job, but he's doing what he wants to do how it wants to do it and you can't say fairer than that.
This latest release (2 and a half years in the making) was recorded on his home laptop with spare contributions from guest musicians. It is obvious from the outset that this is a labour of love but unfortunately I find it hard to imagine anyone but the already converted swooning over this pleasant and well meaning but ultimately forgettable record which at times can sound a little too amateurish for it's own good.
Haswell's voice is a cracked, expressive instrument which takes some tuning into but it suits his downcast songs down to a 'T'. Lyrically he's consistently engaging but never revelatory, whether it be bemoaning 'music today' (the Neil Young referencing 'Post Goldrush Blues') or a faded relationship ('Cause and Effect') and there are some great melodies and hooks hidden amongst the records layers of loops, synths and guitar. It never really comes together though and Haswell's voice (think Roger Waters circa 'The Wall') just isn't strong enough to carry some of his more ambitious melodies. He's much more effective when he's not trying to sing (such as in the doom-laden 'Arise') and just lets his fractured, caramel tones voice the words naturally.
It's a shame Haswell has never actually sought out wider acceptance from the industry he so obviously despises as I genuinely think it would cause him to hone his craft. As it stands though he's probably happy to remain a cult, bedsit figure churning out a couple of mediocre albums a year. What a pity.
Benjamin Hiorns
Is This Music Review of Anthology 98-08 - March 2009
Terrascope Online Review - May 2008
Showing a melancholy state of mind this time around Richard Haswell AKA Rhubarb has delivered his finest work so far in the shape of “If I Could Only Make It Through January”. With sparse and effective guitar, opening track “Fade Out/Fade In” is a minor key and personal song, the vocal delivery immaculate in its delivery. Even better is “3 Seconds”, the violin melody, matching the mood with understated passion. On “Wanderlust”, the addition of drums and distorted guitar gives the song a noisier demeanour, something that quickly dissipates when the haunting “Third Lanark” takes the album into darker places. This is possibly my favourite piece on the album, the ghostly percussion joined by banjo and guitar in twilight perfection. Finally, after the Roy Harper (ish) “September Wasps”, some beautiful violin enhances the delicate phrasing of “Alyth North”, a sad and gentle instrumental that ends the album with a downbeat flourish.
Woven Wheat Whispers Review - March 2008
Is it already album number three for this musical maverick at the service? If the winter's seem darker and Summer ever shorter, then Rhubarb is here with his broken-down acoustic songs of solace. His music forever sounds on the edge of falling apart in an emotionally devastated heap but he weathers on, fighting against the elements. On dozens of releases he has established a quiet following who find his music the antidote to the supposed glamour of today's music industry. Here it seems is our very own voice, unique like Will Oldham or Robin Hitchcock and operating outside the conventions of music labels like Damien Youth. Although often fragile, his music can sway almost prettily as on the upbeat 'Wanderlust'. His music isn't depressing though it's uplifting, getting on with life however it can. He's the loner in the snow, hands thrust deeply into his pockets looking through the windows at us in the warm, all we have to do is invite him in.
Rhubarb - The Julius Work Calendar
Label: Rhubarb Music
Release Date: 15/11/07
Rating: ****
After self-releasing a score of albums, Richard Haswell took some time out - three years to be precise - to write the highly anticipated 'The Julius Work Calendar' under well-worn moniker Rhubarb. For those who are aware of Edinburgh based songwriter, the complex character expressed in this album will come as little surprise, but for those who have never heard of Rhubarb, the album may trace an uncomfortable journey that the ear is unprepared for. It isn't that the ten tracks are noise and discord; rather, the depth of sadness burrowing inward from each song demands an attention most are not willing to give.
Much like the acidic Bill Callahan in his 'Julius Caesar' or 'Wild Love' days, 'The Julius Work Calendar' seems intended to alienate the listener by forcing him or her to face that which is uncomfortable to face. Each song is lyrically highly personal, with sharp cuts of sound, and is accompanied by a particular brand of intimacy, though the intimacy of a murderer not a lover. The hypnotic beat that starts 'Forest Fear', and breaks open to a trash can rampage, resembles the pulse of a criminal building up to his moment of passion, while the steely acoustic guitar riff stabs sharply into the darkness emanated by Haswell's distorted voice. Like fellow sonic-masochist Callahan, Haswell often hides behind layers of effects, only coming to the fore in moments of warmth or confidence - like in 'Too Close To See' where the disarming gentleness of his voice is eventually corroded by a metallic reverb. The chorus becomes uplifting only when considered against the backdrop of ominous tones.
The familiar sounds instruments should make Haswell ignores; instruments are shredded, extended to their breaking point. Acoustic guitars become angular when they are not distorted, and jagged violins do not croon as they normally do - they screech like a dying animal. Haswell uses his instruments to confuse and amplify the failure of our expectations - so when they do play nice and fuzzy the results are glorious, like rain in a desert. There are some sunny spells that light up the landscape too, like in 'As If' and 'Perfect Parallel'.
Although probably not the masterpiece his fans had hoped for, Rhubarb has created a subtle record with the atmosphere of a storm. It is chaotic and brooding with flashes of incredible brilliance and loud bangs. The songs buffet the listener from one emotion to another, and it is all in the music, which creates a magical experience. A listener should be touched whilst in its presence, even if one is unsure of why.
Daniel Good
IS THIS MUSIC Review Dec 2007 - The Julius Work Calendar
Rating :
*****
The Julius Work Calendar is the new album from Edinburgh based musician Richard Haswell. This album, like all his previous efforts, has been recorded pretty much by himself on either 4 track, or on his laptop, which considering the range of sounds which he has created is
a very impressive feat.
On the opening song ‘Forest Fear’ he manages to evoke memories of ‘Dark Side of the Moon’ era Pink Floyd, with the rest of the album tending more towards the twisted folk of King Creosote and the more experimental side of James Yorkston.
The album’s fourth track is ‘Perfect Parallel’ a bruised ballad, which is followed by ‘Brick By Brick’ which, with its distorted and cracked vocals is the best track on the album. After this, the album takes a welcome instrumental break with ‘Boiler Room’, as if perfectly placed to let Haswell’s voice have a rest after ‘Brick By Brick’. The highlights from the remainder of the album are ‘52nd State’ which sounds a little bit like Rachel Steven’s ‘Some Girls’ (but in a good way), and ‘Lanterns’ which is heavily influenced by acoustic Led Zeppelin.
In short, this is one of the best and most varied albums that I have heard all year
Bryan Jessiman
Terrascope Online Review (The Julius Work Calendar) Nov 2007
‘The Julius Work Calendar’ is the latest offering from Richard Haswell working under the name Rhubarb. Treading the same path walked by the likes of Paul Roland or Robyn Hitchcock, the album is a fine collection of psych-tinged songs that have plenty of character of their own.
After the moody delights of ‘Forest Fear’, a Zeppelin Drum sample introduces the excellent ‘Kill It At Birth’, the tune rocking along with style. Throughout the album there is plenty of atmosphere and variety, with the acoustic based ‘Too Close To See’ tugging the heartstrings, whilst the drone led ‘Boiler Room’ is a more experimental slice of sound that works admirably.
Final song ‘The Banks of Claudy’ sets traditional lyrics to some droning strings and shuffling percussion, capturing the essence of the story with downbeat accuracy.
Woven Wheat Whispers Review - Dec 2007
Rhubarb is Britain's own enduring eccentric song-writer making his own style of acoustic indie-pop song over a number of albums. Earlier this year he bought his 'Introduction To' album to our service and here we have his most recent set. Richard Haswell (aka Rhubarb) has a developing aspect of folk music to his releases which is evident on this release which the artist took three years to make. Many reviewers are discovering Rhubarb for the first time and wondering how he can have passed us all by for so many years. Daniel Good reviewed this new album like this:
(Quotes the ClickMusic review in full.....)
This sums up the appeal of the album excellently. When writing about his last release at the service we wrote a description that we have seen widely used since and so we say it again, to spread the word about this singular artist. "There is so much to enjoy, his music feels constantly as though it will fall apart but it never does. Instead we are charmed and often moved by his outsider view, the eccentric perspective of the duffel coated geek with only one lens in his glasses. So it's not purely folk? Where else is he going to go? Let's welcome him in." We've welcomed him in last time, now let's make him a tea.
Woven Wheat Whispers Review - Jan 2007
It's genuinely surprisingly that spending my time reviewing and writing about music continually that an artist as established as Rhubarb should have completely passed me by. Until Richard Haswell who effectively is Rhubarb got in touch, to my shame I hadn't heard a single album by him. I've often scratched my heard since wondering how that could have happened. After all he's released thirteen albums, has a loyal dedicated fan base and was in a band called White Noise for four years. It just shows that the popular music press must have missed on out on this musical treasure too. Thankfully we now have the opportunity to redress the balance and little and hope to bring more music from the artist in the future.
This album brings together songs across the various albums as useful introduction to his varied music. By now I'm sure you're wondering like me what the music is like, so let's press on. Opener 'Curtain Call' has a slow acoustic guitar a repetitive, insistent electric keyboard behind his deliberately blurred vocals.
Although Richard has been making acoustic singer-songwriter music for years, it is perhaps only over the last few that popular music's easy acceptance of the form has grown again with artists such as Damien Rice. I'm sure both artists could reference such as Nick Drake, Damien Jurado and Sparklehorse as influences.
There is the beauty of fragility broken in these songs. On this song his guitar chimes like a mandolin, piano adds simple melodies and dirty processed drums undermine the beauty to avoid it becoming over pretty. It's a great sound, wonderful melodies and it is frankly, only the first song.
The songs seem to come from the perspective of the outsider, the rejected and freaks. Such a view permeates through 'Circus Clown', the kind of elegant acoustic song from a bruised heart we associate with Ray Davies. The artist really does know how to write and structure a song.
The guitar at the start of 'Parallel' isn't flashy, but it picks out exactly the right notes, underpinned by a murky bed of sound. Richard starts to sing, as though he is only just awake and it's a moment that tears at you. He's just about holding it together you think to yourself. It doesn't seem artificial or a pretence, it's just that he's more than a singer, there is an artistry here that allows aspects of his personality to seep out in the music.
There are so many great songs, it doesn't make sense to reveal everything about them. But pick some at random and there is always something new. 'Sky' has shuffling drums, spoken word, an almost whispered vocal and spectral keyboards. 'Illmaintained Fairground Contraption' is like Tom Waits relocated to an abandoned northern British fairground. Seething guitars, ghostly electronics, stereo processing effects and a gutterbox voice. 'Road Works Intolerance' is despair at the modern world in the hushed style of the Velvet Underground's minimalist acoustic third album.
'Molly and Me' sounds like Rhubarb is backed by Boards of Canada, muddy ambient electronics, bird song and graceful keyboards combined with his vocal. 'Stone' evokes Harry Nillson spaced out. 'The Fall of the Sparrows' live shows Rhubarb playing ace dirty electric guitar too on a Yo La Tengo type song. Although naturally we try to place an artist in context by mentioning others, he is a distinctive talent who should of broken through to wider acclaim. There is so much to enjoy, his music feels constantly as though it will fall apart but it never does. Instead we are charmed and often moved by his outsider view, the eccentric perspective of the duffel coated geek with only one lens in his glasses. So it's not purely folk? Where else is he going to go? Let's welcome him in.
Daily Record Review March 2007
"..if there were record deals for workaholics Rhubarb or Richard Haswell would be Robbie Williams.
Fourteen albums and counting, this is a compilation of all his best bits and the best place to start before he releases his new album, The Julius Work Calendar, due out in May.With a voice like Bob Geldolf, Rhubarb has the rootsy alt.folk of Eels, or late solo work from Peter Gabriel. It's odd but draws you in, especially beats driven tracks like Red Sky, Forest Fear (Live) and Solid Ground which sound like The Wall-era Pink Floyd in their hypnotic qualities. "
Those of you who like Robyn Hitchcock or Paul Roland should check out the gentle psych songs of Rhubarb (AKA Richard Haswell), their soft melodies and pithy, world weary lyrics contrasting brilliantly on such songs as “Static Record Collection”, a song about growing old in the comfort zone. With some well constructed guitar solos and thoughtful arrangements, the song sparkle with electricity, with song like “Red Sky” and Ill-Maintained Fairground Equipment” being given plenty of room to soar. Throughout, the lyrics are well worth paying attention to, being humorous, sarcastic, optimistic, and nostalgic, often at the same time. With at least fourteen album to choose from “An Introduction To…” is recommended as the perfect doorway into a weird and wonderful universe you may recognise as your own.
Review from Is This Music Issue 26 - March 2007
"Rhubarb. A perennial plant, often used in cooking
for its edible stems. The leaves, however, are
highly toxic if eaten, and it’s widely considered to
have a strong laxative effect. An interesting name
for a one-man musical experiment, then.
Maybe
the success of Conor Oberst is to blame, maybe
technology has finally made the one-man band a
financial possibility for wannabe musicians, maybe
it’s just tough to find a decent backing group nowadays - but more and more closet musicians seem to be taking the DIY approach.
Luckily Rhubarb (real name Richard Haswell) is a
cut above many of these self-made rock stars. The
crackly intro to ‘Curtain Call’ probably felt like a
good idea at the time, when in reality it becomes
irritating after about ten seconds, but much of this‘Best of…’ compilation is unusually well-polished.
His half-spoken vocals aren’t always up to the
challenges he sets them, but you can’t blame a
man for trying and there are some genuine lo-fi
gems to be dug up. The mechanical whirrings of‘Ill-maintained Fairground Contraption’ support
moments of moving lyrical poetry, while the Jean
Michel Jarre-like ‘Solid Ground’ provides the
album’s heart, and its high-point.
Something of a mixed bag overall, but with a surprising strength of vision. Still not sure about the name, though."
Matchbox Records review :
"..Ending this extremely brilliant eclectic new music feast we have the appropriately titled " Curtain Call " from the wonderful, eccentric and heavenly melody maker RHUBARB .
Rhubard is actually bedroom musical genius Richard Haswell at work in a different disguise. He has been recording music for years and has played in many bands but is only now getting noticed for his extreme talent and creativeness. This great leftfield acoustic based song is very different and a bit Mercury Rev like in a lo-fi experimental pop way. There are lovely distorted drum loops that thump in the background while lovely piano notes twinkle over Radiohead Spanish style guitars. The vocals are melodic and distinctive and create a mood of escape that chills your mind out completely. A breath of fresh air with a twist of leftfield beauty. You can also hear scratchy record sounds which indicates that either it was recorded before CD's were invented or Rhubarb has access to some rather modern recording software that can emulate that authentic analogue sound. We think it's the first but not sure yet. But anyway.....it's great and the perfect song to end this alternative, leftfield, acoustic , rock, electro, eclectic new music extravaganza.