The Orielles release their new album Tableau, a genuinely contemporary record which voyages far beyond the musical limits reached on their previous albums Silver Dollar Moment (2018), Disco Volador (2020) and La Vita
Olistica (2021). The album was self-produced in collaboration with Joel Anthony Patchett (King Krule, Tim Burgess). As well as the adoption of contemporary 21st century production, the Orielles used concepts from the world of art and minimalism in creating Tableau. Sidonie had researched the graphic scoring method of Pulitzer Prize nominated trumpeter and composer Wadada Leo Smith. They also utliised Oblique Strategies - the playing cards designed to aide creativity created by Brian Eno and artist Peter Schmidt in the early 1970s.
The result is a double album that rewards serious immersion, as complex as it is diverse. Though Tableau is likely to challenge preconceptions, this is something the band suggest they have been doing for quite some time anyway. “All through our whole career we’ve had to prove ourselves so, so much” explains Henry. “You can’t disconnect the age and the gender thing either” adds Esmé, “People belittle your age because they see women in the band. Whereas lad bands, if they’re eighteen it’s apparently exactly what people want to see.” Being from a small town in West Yorkshire may have added to that also, but Sidonie counters that “being from Halifax has also been a blessing, it’s kept our egos in check.”
Perhaps more than any of this, though, Tableau is also simply the product of the unique telepathy between three singular musicians that have grown in symbiosis for over a decade now - simply the three of them in a room.
If you want a taster of how great the album is go straight to 'Beam/s’ a gorgeous 7-minute-53-second piece of constantly shapeshifting celestial dream pop that heralds the truly extraordinary Tableau.