belle and sebastian safety valve price

Belle and Sebastian hark back to former glories on their bewitching score for Simon Bird’s sweet and understated slice of life, Days of the Bagnold Summer.

Over the course of almost a quarter of a century, the veteran Glaswegian indie-poppers Belle and Sebastian have provided a reassuring ballast for alienated, bookish and sensitive teenagers everywhere. Both small and big screen have offered a gratifying vehicle for their droll brand of whispery, folk-flecked and poetic pop, which has sound-tracked a plethora of mopey teen infatuations, growing pains and coming-of-age moments in television and film from High Fidelity, Juno and Teachers to (500) Days of Summer.

Their latest adventure, the score for Simon Bird’s film adaptation of Joff Winterhart’s excellent and touching 2012 graphic novel about a sullen teenage metalhead enduring a slow, tedious summer with his librarian mother when his flakily absent father reneges on a promised trip to the US, marks a welcome and surprising return to old school form following the steep decline of the septet’s laboured post-Dear Catastrophe Waitress canon.

The film’s tender-hearted chronicle of small-town ennui and its prosaic, suburban milieu of beige cardigans, shoe shops, libraries, kitchens and diners fit the group’s aesthetic like a glove, as Stuart Murdoch and cohorts shelve the 1980’s synth-pop, funk and soul excursions of recent releases in favour of the pithy, bedsit romanticism, gossamer chamber-pop and melodic grandeur of their formative years. A mix of new songs, instrumentals and re-boots of two classics from their imperious period, Days of the Bagnold Summer operates both as a subtle evocation of the principal themes and images of the film and a stand-alone piece in its own right.

The opening instrumental, Sister Buddha (Intro), sets the scene with its dulcet duet of pretty, acoustic guitars. Murdoch’s famously wallflower vocals sound rougher and less choirboy on the pristine new recording of 1998’s I Know Where the Summer Goes (a highlight of the This Is Just A Modern Rock Song EP), a folksy serenade adorned by an aching violin solo, whose opening lyrical blast of “I know where the summer goes/When you’re having no fun/When you’re under the thumb,” encapsulates the sticky frustration and claustrophobia at the film’s core.

On the gently picked, Sufjan Stevens-like acoustic reverie, Did The Day Go Just Like You Wanted,Murdoch’s keening pipes quiver gracefully like forlorn whispers under blankets as guitars float past like a cloud. The pillow of strings and throbbing brass provide one of the record’s most rousing, goosebump-inducing moments as the song edges towards its conclusion; there’s more than a touch here of the instrumental break in My Wandering Days Are Overfrom the band’s bejewelled Tigermilk debut.

John Barry’s iconic Midnight Cowboy score has remained a staple influence across Belle and Sebastian’s career and they’ve pillaged the wistful tone of its central theme on more than one occasion, so it’s no surprise to hear harmonica, flutes and strings being flexed around the downcast amble of ‘Jill Pope’. On the sparse This Letter, Murdoch’s softly spoken vocals dance across a bossa nova lilt that’s part Jobim and part Everything But The Girl, decorated by plangent interjections of trumpet, whilst Another Day, Another Nightshowcases the mellifluous murmurings of Sarah Martin over ripples of lightly strummed acoustic guitars.

Safety Valve is a rarity that’s been circulating for the entirety of the group’s existence without being committed to tape. It’s quintessential early Belle And Sebastian folk-pop, all limpid folk-jangle, close harmonies and soaring violins, draped in reverb. Fan favourite Get Me Away From Here I’m Dying, from the classic If You’re Feeling Sinister, receives a new treatment here that’s stripped down and leaner; its lyrical content segues seamlessly into a film about a misfit teenager trying to fit in and find a place.

The soundtrack concludes on an emphatic note with We Were Never Glorious, a stirring instrumental in which piano, distorted guitar, violin and snatches of dialogue from the film intertwine to potent effect; it projects a rousing euphoria as it cartwheels away in a climax of soft-focus fireworks.

Belle And Sebastian’s early, career-defining work represented a consummate marriage of classicism and craft that was out of sync with the prevalent rockist strains of 90’s indie and alternative music – alt-rock, grunge and Britpop. It’s therefore refreshing and surprising to hear a seemingly increasingly relevant and stale act ditch the pallid window-dressing and revert to something approaching the spirit, sonics and wide-eyed wonder of those epochal and glistening releases.

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Album Review: Although it’s been four year since the last full-length album by the indie-pop/alternative band Belle and Sebastian, from Glasgow, Scotland, this new release might not qualify exactly as its latest release, as Days of the Bagnold Summer is a soundtrack album for the film of the same name. The film, described as a coming-of-age comedy, is the directorial debut of Simon Bird, based on a graphic novel that tells the story of a teenage boy forced to spend the summer break with his mother in the south of England. One has to imagine that harnessing one’s musical creativity in service of supporting the narrative of a film forced an artist to flex a completely different set of muscles than they might bring to creating new stand-alone music of one’s own, that grows out of your own life and experience.

For this project, the group’s main vocalist Stuart Murdoch and company have re-re-recorded a couple songs from previous albums. The pop/ballad “I Know Where the Summer Goes” first appeared on the band’s 1998 EP, This Is Just a Modern Rock Song, and the pop rocker “Get Me Away From Here I’m Dying” came from 1996’s If You’re Feeling Sinister. The album’s first single is more of a rocker, “Sister Buddha,” which appears twice on the album, the full-production number sung by Murdoch, and an acoustic, instrumental version opens the album.

Elsewhere, the rest of the album is made up of pop songs and instrumental tracks that were likely created to match particular moments in the film’s narrative. In an interview about the process of writing and recording for the movie, Murdoch mentioned “The Graduate,” so it will surprise no one that some of these songs feel like a Belle and Sebastian take on Simon and Garfunkel’s soundtrack for the Dustin Hoffman classic. “Did the Day Go Just Like You Wanted?,” “I’ll Keep It Inside,” and “Wait and See What the Day Holds” fall nicely in that acoustic vibe. “Safety Valve” is a bit of Scottish folk rock, with a bit of violin, while “This Letter” is a bit of jazz pop, but all the instrumentals, like “Jill Pole, “The Colour’s Gonna Run,” and the album closer “We Were Never Glorious,” which contains some spoken dialogue from the movie, seem designed to work primarily as backdrops to whatever’s going on in the movie rather than musical statements.

Fans of Belle and Sebastian will likely enjoy hearing these musicians apply their craft in this kind of collaborative effort, but given that four years have passed since their last full-length release, How to Solve Our Human Problems (Parts 1, 2 and 3), along with the fine single version of “Sister Buddha.”

Brian Quincy Newcomb has found work as rock critic and music journalist since the early 80"s, contributing over the years to Billboard Magazine, Paste, The Riverfront Times, and The St. Louis Post-Dispatch.

The upcoming Days of the Bagnold Summer film is based on a 2012 graphic novel by Joff Winterhart, and will also be the directorial debut of Simon Bird (The Inbetweeners, Friday Night Dinner).

Belle and Sebastian are behind the soundtrack for the upcoming film, which will feature new songs like "Sister Buddha", as well as some re-recorded classics such as "Get Me Away From Here I"m Dying" and "I Know Where The Summer Goes".

Vocalist Stuart Murdoch reveals that "Sister Buddha" wasn"t written for the film, "It just came from my present interest in Buddhism. Simon picked up on it, wanting to have something uplifting at the end of movie, and we were happy for him to have it."

Days of the Bagnold Summer is due to arrive in UK cinemas in 2020, and stars Rob Brydon (Gavin & Stacey, The Trip), Monica Dolan (Eye in the Sky, The Falling, Pride), Earl Cave (The End of the F***ing World), and more.

Belle and Sebastian"s Days of the Bagnold Summersoundtrack will be released 13 September via Matador. They host their own festival, The Boaty Weekender, in Barcelona next month. Find out more.

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Composing an original soundtrack is far different than writing an album of original songs. Now that that is out of the way, culling and piecing together tunes is as much of art as it is a science. It also explains why Belle & Sebastian frontman Stuart Murdoch was willing to go way back into his personal catalog to unearth gems that predated the Scottish band’s existence.

In this case, that means the 1993 deep cut “Safety Valve,” a song that Murdoch re-recorded specifically for the “Days of the Bagnold Summer” soundtrack. It’s a song he stumbled upon while culling through a batch of old material and reading the comic novel that inspired the film.

“It’s ancient! It’s probably the oldest song I’ve ever recorded with Belle & Sebastian,” Murdoch said. “It predates the group by a couple of years, but I was just going through this period of dusting off a few old ones. It cost us nothing. We just went into the studio and we jammed out these old songs. Then we brought it to Simon (director Simon Bird) and I had a feeling he’d like the feel of the early band anyway.

Over the past couple of years, Belle & Sebastian have remained busy. The group has released a trio of EPs, and have launched and curate their own four-day music festival at sea — The Boaty Weekender — which is where Murdoch is returning from when we caught up with him.

“Days of The Bagnold Summer” isn’t Belle & Sebastian’s first foray into the world of soundtracks. They released their first soundtrack in 2001, but this one was a bit more straightforward than that.

“There’s a difference between scoring and an LP and this film plays to our strengths,” Murdoch says. “The process was that I looked at the comic novel (also called “Days of the Bagnold Summer”) and I just so happened to be listening to some really old tapes of mine. It just felt that the atmosphere of the story and old tapes went together. So I thought of most of my ideas by the weekend (after reading the novel), and they were mostly little songs. Then when you have the songs in place, then you can devise any scoring and it’s easy to take the themes and expand on them.”

The band wrote all but two new songs for the soundtrack, which in itself makes this a nice appetizer for fans who want to hear new material that isn’t quite a new album. Although they have no plans to perform it live as a complete piece, writing a soundtrack came to them as easily as one would expect from the indie rock vets.

“A tune is a tune and a song is a song,” Murdoch said. “We have this general notion of anything goes. That’s not to say its haphazard, but its best to let the music flow out and decide afterward what you’re going to do with it.”

As for what’s next, the group is recharging after the Boaty Weekender (“We’ve been working toward that for a year”), but Murdoch said that he has “headspace to figure out what to do next.” Without giving too much away, he said that the label is ready for a “proper” new Belle & Sebastian LP, even though he’s interested in doing another original drama piece — whether that be a play or movie.

“We’ve been avoiding recording a proper LP and haven’t done one a few years and happily recording other music,” he said. “We’ll probably get back into the studio with a producer next year and do something there.”