After a series of excellent EPs and one full length album, Lancashire-born artist Rob St. John eschewed a promising solo career , at least for now, to join up with three Scottish musicians in 2015. The band are built around the song writing talents of Glasgow-based musician Emily Scott.
Although Scott’s pure singing voice and elegant tunes are central, it is the way the quartet function as a whole that makes Modern Studies so special. St John’s own deep, melancholy vocals are vital since they serve as a perfect foil for the purity of Scott’s voice.
The band members’ diverse influences illustrate how a range of potentially discordant interests can be integrated. Artists named as inspirations include Dave Brubeck, Low, Talk Talk, Jim O’Rourke and Pentangle.
Now on their fourth album, the band have evolved from the more analogue-centred debut - Swell To Great (Song, By Toad 2016) - to embrace a rich sweep of orchestral arrangements.
The sound can best be categorised as Lounge folk although the online bio is correct to highlight the “a subtly experimental spirit” at the heart of their music.
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The results are neither instantaneous not overtly commercial but reward listeners prepared to be patient and let the strengths become apparent after the few hearings. There are no obvious hooks or singalong choruses and only Mothlight has what might be described as a driving beat.
Although there are no instrumentals, a delightful ambient glow prevails over the ten expertly sequenced songs. The graceful Wild Ocean is the centrepiece which, despite the complexity of its structure, seems like a hymn to spontaneity.
The charm of the record works holistically from the promise of summer skies in the opening Sink Into to the slightly chillier mood of the closing track Winter Springs.
Overall, the balm of the harmonious chamber pop melodies slowly and softly work to produce a healing effect.
Modern Studies’ website
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