Giorgio Tuma
IN THE MORNING WE’LL MEET-(ELEFANT)-I have no idea who Giorgio Tuma is, and I’m sure you don’t, either. But let’s not let obscurity get in the way of the very obvious point that In The Morning We’ll Meet is one of the most perfect soft-pop records. Beach Boys circa Friends, the early Clientele singles, Plush, the Free Design, the soundtrack to Virgin Suicides, and the Beach Boys tribute, Caroline No—think these things and you will have a firm and honest understanding as to what is in store. Tuma sings with a lush, delicate croon that fits well with the equally gossamer-light arrangements. Nothing found on here really breaks much of a sweat; it is clearly doused in mellow. And don’t let the fact that there are sixteen tracks bother you; five of those are minute-long interludes, and they’re really not as superfluous as it seems. If anything, these little bits make the entire album a cohesive whole. There are many moments of pure perfection here—the tasteful orchestration of “Innocenza Cetra” makes me dance a waltz, whereas the charm of “Sitting on the Little Church Steps” brings a tear to eye, and for some weird reason, I can’t help thinking of ELO on “An Enchanting Blue.” My favorite is the epic centerpiece, “Old Old Kiss,” which builds from a simple piano ballad into a weird jazz-prog mix that enraptures one’s heart, before making a left turn again into Van Dyke Parks/Brian Wilson territory. In The Morning We’ll Meet may be an obscure record by an obscure European act, but don’t let that put you off—it’s one of the best things you’ll hear all year. www.elefant.com JOSEPH KYLE