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The brilliance of Chant Darling is that while it peddles a brand of indie pop that comes off chewed over and spat out a million times over, there is nothing tiring about it. That’s because it’s neither precious nor gimmicky nor remotely self-conscious. And it’s just so beautiful!
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Lawrence Arabia's narrator persona, with one foot sternly in the past and the other staggering, trying desperately to get away, loiters before it settles. This makes Chant Darling a charming listen whose dolorous sentiment recurs like a welcome motif, each song taking time to reveal its full charm.
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There is enough in the moments which don’t quite astound to suggest that Lawrence Arabia is on the cusp of making a real classic of a record, until that time arrives, go check out ‘Beautiful Young Crew’ and drool at the prospect of an album which tops it not once but twice.
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MojoLawrence Arabia's world may lean toward Edwardian anachronism, but that echo of simpler times will charm your socks off. [Jan 2010, p.123]
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UncutThe effortlessly adroit songwriting on this, his second album shows why [in-the-know Kiwis have long talked up the talents of James Milne]. [Jan 2010, p.118]
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Chant Darling is an album that won't leave a massive impression on first listen, but there's a definite charm that keeps you coming back for more.
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Under The RadarHis naked candor drives a stake through your heart, the emotional payoff on an equivocal and conflicted, yet excellent record, and one that augurs even greater things to come. [Winter 2010, p.63]
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Chant Darling doesn't hit strike that balance often enough, and very few of these songs allow such a glimpse of the musician behind them. Ultimately, Lawrence Arabia's carefully tailored influences have the same effect as that stage name, as if Milne was intent on absenting himself from his own album.
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Nothing here is without precedent, but personality goes a long way, and the best bits of Chant Darling are full of it.