John Parish – How Animals Move

John Parish is most widely known for his collaborations with Polly Jean Harvey. Not a bad rap, certainly, but it substantially underrepresents his range of creative output. He has, for instance, also produced and/or played on records by the Eels, Sparklehorse, The The, Bettie Serveert, and Sixteen Horsepower. The 1999 Flemish art film Rosie, a prize-winner at the Bonn International Film Music Biennale, was a Parish composition. And he was all over Giant Sand’s Chore Of Enchantment: Not only did he produce, mix and play on many tracks, his wedding pictures figured in the cover art.

Paradoxically, on his own work, How Animals Move, we hear most clearly his contributions to that of others. The collection of diverse settings and moods, which distills his gift for tasteful acquisition and synthesis, is unified by Parish’s unique talents: an open mind for ear-tickling sound, a bright-eyed disregard for convention, and a master’s hand with the art of the studio.

The opening track is a poignant violin solo recorded in 1998, with ambient sound from a baby monitor added in June 2000. The title track and “The Florida Recount”, by contrast, feature eleven players (including violins, cornet and glockenspiel) recorded in Wales, and piano parts added by Howe Gelb later in Tucson.

Much of the record is instrumental, gently experimental and lovely, but several tracks, such as “Bernadette”, integrate rock-aggressive guitar work and a hard pop feel. Fans of Jim O’Rourke, Sparklehorse and Stereolab likely will delight in the unfettered Parish.