Rain Before Seven... Penguin Cafe

• 1Welcome to London04:48
• 2Temporary Shelter from the Storm04:55
• 3In Re Budd04:22
• 4Second Variety03:53
• 5Galahad06:10
• 6Might Be Something06:29
• 7No One Really Leaves…04:54
• 8Find Your Feet04:17
• 9Lamborghini 75404:23
• 10Goldfinch Yodel04:49
• Total Runtime49:00

Info zu Rain Before Seven...

A sense of optimism infuses Penguin Cafe’s fifth studio album Rain Before Seven… not the braggadocious, overconfident kind, but more a blithe, self-effacing optimism in keeping with the national character. Even when all signs point to the contrary, it operates within the certainty that things are going to be alright. Probably.

The title comes from an old weather proverb with the rhyming prognostication — fine before eleven — hinting at a happy ending, irrespective of the science: “I found it in a book and I'd never heard it before,” says Arthur Jeffes, leader of Penguin Cafe. “It has faintly optimistic overtones and I quite like it. It's fallen out of usage recently but it does describe English weather patterns coming in off the Atlantic.”

From the widescreen reverie of opener ‘Welcome to London’ with its cheeky nod to Morricone to ‘Goldfinch Yodel’, the self-described “Maypole banger” at the denouement, there’s a welcome sense of sanguinity, always with an undercurrent of exotic rhythmic exuberance. Playfulness pervades, with a titular nod to A Matter of Life… from 2011, the last album title that concluded with an ellipsis. That Penguin Cafe debut is the bridge between the legendary Penguin Cafe Orchestra, led by Arthur’s father Simon Jeffes, and the much-loved descendent, led by Arthur.

“Stylistically it's really satisfying to get back to playful rhythms and instruments,” says the younger Jeffes, who kept the group’s debut from 12 years ago in mind when writing the new album. “Certainly when starting out, I became aware that we’d stopped using quite a few of the textures that had been there at the beginning—and it was certainly there in my dad's earlier stuff. So there's a lot of balafon and textures from completely different parts of the world, musically and geographically: ukuleles, cuatros and melodicas that you can hear.”

It’ll become clear when listening to Rain Before Seven… that the themes explored transcend mere weather chat. In a sense, it’s a sonic diary scribbled from below the parapet, waiting for the danger to blow over. Jeffes, like many of us, found himself in lockdown in 2020. COVID-19’s first European destination was Italy, where he and his family were staying at the time in a converted convent in Tuscany, bought some twelve years ago with his mother, the celebrated stone sculptor Emily Young. There might be worse places to be stranded during quarantine than a hilly enclave surrounded by olive trees, though the family were faced with the same sobering fears and uncertainties that much of the world was forced to contend with.

And so titles often refer to personal experience during this period. ‘Galahad’ is a triumphant celebration of Arthur’s beloved dog who died, aged 16, written in an irrepressible 15/8 time signature, and ‘Lamborghini 754’ is named after the 40-year-old tractor he bought for his mother, which he could see from the studio as she traversed the olive grove. Jeffes is the first to admit that he was fortunate to have space to manoeuvre, a luxury that was denied to millions living in cities and towns. Moreover, the plight of city dwellers seemed to eerily coalesce with a vision Arthur’s dad had that would inspire the Penguin Cafe Orchestra into life in the first place.

The story goes like so: back in 1972, Simon Jeffes ate some dodgy fish whilst holidaying in the South of France, which caused him to hallucinate: “As I lay in bed I had a strange recurring vision,” he said later. “There, before me, was a concrete building like a hotel or council block. I could see into the rooms, each of which was continually scanned by an electronic eye. In the rooms were people, everyone of them preoccupied…” Jeffes could make out “electronic equipment. But all was silence. Like everyone in his place had been neutralised, made grey and anonymous. The scene was, for me, one of ordered desolation.” The antidote to this premonition of an uncannily familiar future was the freewheeling Penguin Cafe “where your unconscious can just be”.

Simon Jeffes took “a slightly eccentric antiquarian approach” to assembling his music, according to Arthur, repurposing sounds that were unapologetically easy on the ear; a reaction, perhaps, to the earnestness of the post-war serialists, which happened to coincide with the rise of minimalism. “But he loved Boulez,” adds Arthur, “and John Cage too. I think my dad felt that there was a lot of sub-Cage that didn't need to be there.” Classical music dovetailing with pop and East African rhythms might not sound all that remarkable in the internet age (and in advertising, which PCO were never averse to), though in the 1970s they found a home on Brian Eno’s Obscure label, such was the arcane nature of what they were doing. The Penguin Cafe Orchestra wouldn’t remain recherché for long.

“I think his novel approach was to take interesting, weird ideas and do strange things with them,” says Arthur, “but always while keeping an eye on making sure it sounded beautiful and emotionally engaging.” That ethos has been carried into Penguin Cafe. “It’s a commitment that we made when I picked it up again, because we play my dad's music but we also perform new music in the same sound world. That means I’m honour bound to keep an eye on the original thread and make sure we don't start heading off into thrash metal territory.”

Nevertheless, encouraged by co-producer Robert Raths, the rhythmic elements of Rain Before Seven… have never been more to the fore and, at times, even hint at the electronic. ‘Find Your Feet’, for instance, is underpinned with more than just a pulse. Mixed by Tom Chichester-Clark, it brings to the musical melange what Arthur describes as a “near electronic feel”. He adds, excitedly: “There are elements of fun here which we haven't really done with the last three records.” Another ebullient highlight is ‘In Re Budd’, dedicated to the late ambient godfather Harold Budd, who Arthur discovered had died on the day he’d been writing the celebratory ear worm with a deceptively tricky syncopation. Played on an upright piano with some “prepared” felt to accentuate the bounce, Jeffes feels a track with an Afro Cuban Cafe vibe would appeal to Budd’s contrariness.

And then there’s the aforementioned ‘Welcome to London’, which got its name as the world started to open up and people were finally allowed to fly again. Jeffes, who touched down on home soil for the first time in a while, was struck by its cinematic John Barry-esque qualities as he took a taxi into West London from Heathrow with the mise-en-scène of the opulent twilight. The optimism is there, and maybe a little caustic irony too. “Robert [Raths] added a layer of nuance which I think is interesting, because many Londoners are not from London originally. So you pitch up to London as an outsider, and you haven't really found your tribe yet, you get mugged… and then ‘Welcome to London’ takes on a more sarcastic resonance.”

Arthur Jeffes, piano; balafon (1, 2, 3, 4, 8, 10); melodica (1, 2, 4); Gretsch (1); ukulele (3,8,10); prepared piano (7, 8, 10); percussion (3, 8, 9, 10); cuatro (8, 10); granular synthesis and programming (2); bass guitar (3); dulcitone (2)
Oli Langford, violin (1, 2, 5, 6, 7, 8, 9, 10); viola (1, 5, 6, 7, 8, 9, 10)
Clementine Browne, violin (1, 2, 5, 6, 7, 8, 9, 10)
Rebecca Waterworth, cello (1, 5, 6, 7, 8, 9, 10)
Andy Waterworth, double bass (1, 2, 3, 5, 6, 7, 8, 9, 10)
Avvon Chambers, percussion (1, 2, 3, 5, 6, 7, 8, 9, 10)
Alessandro ‘Asso’ Stefana, lap steel and soundscapes (4)

String arranger and musical director Oli Langford
Produced by Arthur Jeffes
Co-produced by Robert Raths
Recorded at Convento di Santa Croce, Tuscany and Far End, Wiltshire
Mixed by Tom Chichester-Clark and Aviv Cohen at Elsham Studios
Mastered by Zino Mikorey

Penguin Cafe “My father, Simon Jeffes, was in the south of France in 1972-73, where he got terrible food poisoning from some bad shellfish and spent 3 or 4 days with a terrible fever. During this, he had very vivid waking dream – a nightmare vision of the near future – where everyone lived in big concrete blocks and spent their lives looking into screens. There was a big camera in the corner of everyone’s room, an eye looking down at them. In one room there was a couple making love lovelessly, while in another there was a musician sat at a vast array of equipment but with headphones on so there was no actual music in the room. This was a very disconnected de-humanising world that people had made for themselves…

However you could reject that and look further afield, and if you went down this dusty road you would eventually find a ramshackle old building with noise and light pouring out into the dark. It’s a place you just fundamentally want to go into, and this is the Penguin Cafe. There are long tables and everyone sits together, and it’s very cheerfully chaotic. In the back there is always a band playing music that you are sure you’ve heard somewhere but you have no idea where – and that is the Penguin Cafe Orchestra – they play this music.

When my dad woke up he decided that he would write the music that would be played by the band from his dream, and so with that as a criteria he then wrote for the next 25 years and that is the world that we now also inhabit…” (Arthur Jeffes, BBC London, February 8th 2014)

Penguin Cafe was founded by Arthur Jeffes in 2009, bringing together a talented and disparate group of musicians from the likes of Suede, Gorillaz and Razorlight, initially to perform his father Simon Jeffes’ legacy of world renowned Penguin Cafe Orchestra music, ten years after his untimely death in 1997.

Arthur, a talented composer in his own right, quickly began to create new and unique genre-defying music, with the spellbinding philosophy of the Penguin Cafe always in his mind.

Arthur utilizes many different instruments and influences including elements of African, Venezuelan, Brazilian, Bluegrass, Classical, Avant-Garde & Minimalist music, using a variety of instruments from strings, pianos, harmoniums, slide guitars, cuatros, kalimbas, experimental sound loops, mathematical notations and more.

To date, Arthur’s Penguin Cafe has released two acclaimed albums of fresh, innovative and beautiful music that have achieved the seemingly impossible feat of creating something new and different and still exciting the worldwide fan base of original PCO followers.

The new album ‘The Imperfect Sea’, a collection of dance records made on real instruments, is due for release May 5th 2017 accompanied by a special show at Le Poisson Rouge in New York, followed by more live dates across UK, USA, Japan and Europe throughout 2017.

Arthur William Phoenix Young Jeffes born 21 July 1978, London is an English composer, producer, musician and arctic explorer. He is the founder and frontman of the Penguin Cafe and is one half of the band Sundog. Other work includes composing film scores and most recently producing Sam Lee’s new album out in 2015.

Jeffes was born in London to the artist Emily Young and musician and composer, Simon Jeffes. Jeffes’s interest in experimental music was recognised by his father when he took a hammer to the keys of his father’s piano. While both of his parents nurtured his musicality he was encouraged to base any career on a strong academic background. He read Archaeology and Anthropology at Trinity College, Cambridge.

In 2007, Jeffes brought together original members of the PCO for a set of memorial concerts to mark ten years since his father’s death. Encouraged by the public’s response to the concerts, Jeffes decided that keeping his father’s music alive and adding to the mythology behind the band was a worthwhile endeavour. He founded the Penguin Cafe with a brand new line-up, including Cass Browne of Gorillaz, Neil Codling of Suede, Oli Langford of Florence and the Machine and Darren Berry of Razorlight. They have released two albums, A Matter of Life… (2008) and The Red Book (2014).

In 2012, Jeffes was commissioned by the artist Nelly Ben-Hayoun to write several pieces for the NASA Kepler Project to be played by the International Space Orchestra. The pieces “1420” and “Aurora” were beamed into Space in 2013. “1420” was inspired by the WOW! Signal.

2017 sees Arthur releasing the new Penguin Cafe album with extensive touring, alongside animation and dance projects.

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