I just listened to the album. First impression: too many words, too little music, strikingly a lot of piano. Successful tracks: 'Pictures On A Wall' and the absolute highlight of this album: 'Stand Near Me' (do I hear Andy's oboe there?).

It's such an intriguing album. We've had a BF album before where his voice was absent (or more accurately BF was ostensibly completely missing!), but a BF album with someone else's voice is strange, indeed. Summons up contrasting responses - I find myself focusing perhaps more on the music than I would normally do when presented with a new album from our hero, because this is primarily where BF is to be found. But then, AB's voice is so forthright it becomes compelling as well. It makes for an interesting dynamic to listen to, so one can imagine the joy each shared in its creation.

I agree with SF, 'Stand Near Me' is a highlight - could well be Andy we hear there - I'm streaming it ahead of my copies arriving, so can't see the credits. But musically, this sounds to me as though it could have slotted seamlessly into 'For Your Pleasure': moody, eery, experimental. 'White Noise' has a great simplicity to it that conjures up thoughts of 'Sunset' whilst conversely, the title track has an understated energy reminiscent of 'Cruel' - probably my standout track. I, too, like 'Pictures On A Wall' - there's quite a hypnotic groove to it and an aura of 'All Tomorrow's Parties' hanging around it.

Whilst the album's texts are standalone pieces, the album feels like a coherent whole. Nonetheless, it's completely out of left field, which, for an artist with such a canon of work behind him and in his 80th year, is rather remarkable. Being such a departure from what's gone before, it's inevitably not going to be to every fan's taste, but for precisely the same reason, it seems improbable that it won't garner newcomers. Quite how many given this isn't exactly a 'radio friendly' work remains to be seen.

Elegantly Ageing Hipsters,
W2 writes to you fresh from London’s ‘Spatial Playback’ and has no hesitation in declaring ‘Loose Talk’ a triumph.
The album is majestically summed up by Damien Love’s sleeve note when he says:
“ Increasingly the real mystery lies with the composer in the other apartment ,alone with his piano after the cocktail party’s over , chasing melodies through the night, struggling to capture the music before it disappears”.
W2 well imagines BF alone, noodling away into the small hours and coming up with these fabulous riffs. But then things just never arriving and frustratingly having to consign gems to the cutting room floor.
‘Loose Talk’ is a fabulous way to bring those diamonds in from the ruff by giving them a life setting them to Amelia Barrett’s haunting texts.
Learned Ferryistas will recognise snippets from pretty much the entire spectrum of Ferry’s musical life.
There’s a lot of great piano throughout. The boy wonder has always been quite self effacing about his keyboard skills but W2 has always thought him the genius of the riff and ‘Loose Talk’ is a solid testimony to his prowess.
W2 just loves the whole thing and for Bryan to come with his nouvelle vague at this stage of the game is just marvellous. Oh the songs that might have been. Noir personified.
Salutations a tous.
Windswept

Cher Sentimental,
W2 also thought it was Andy’s Oboe but sadly not. He isn’t credited.
There are, by BF standards, relatively few musicians listed and - as one would expect - he has been quite meticulous with his notation.
Salutations,
W2

'Loose Talk'

So many things to say about this courageous album … Maybe one of the key important creations in his Artistic output - How exciting it must be to know - at 79 years old - you had this brilliantly bonkers material-collaboration with a recognised spoken word artist and painter ready to release at any minute …..and what kind of reception would it recieve ??? Well, with a few early doubts aside ( including from myself at the beginning - I was wrong !)

This bold Post modernist sprechgesang project has definitely made the cognoscenti think…. Iv’e heard some people say there’s too much talking - but the texts came first and Mr F decided what to do with them - so he was ultimately the person who made the decision about track length. voice v’s Music …
And like the first time I heard the debut Roxy album It felt so exciting to have a difficut ‘Loose talk’ job to do …lots of contrast - juxtaposition - clatter and clashing - voice obscuring music and vica versa - what could this sentence mean in that context …? But like then gradually the words and sounds merge in their own kooky way - and it’s feels like a cousin of ‘Before and After Science’ or a neighbour of ‘My life in the bush of ghosts ‘- a cool - thank god it exists - late 70’s art nerd album - IMO it’s even more ‘out there’ that the mid period Roxy albums of that time.

Some highlights for me
I love the almost child like piano racket and maybe French Horn on Big things - I love Amelia Barrett’s attempts to feel in control and that when she wrote that piece she had no idea of the mayhemFerry would bring to it

‘Stand by me ‘funky random keyboard sinister wonderfully messy sound

I Love ‘Orchestra’ now - with good headphones it soars

But my favourites at the moment are

Holiday - there is an ethereal breeze of Avalon sound in the middle which is so beautiful - Also AB’s voice is warmer and more in time with the music - has a slight Penguin Cafe Orchestra air

Pictures on a wall - a sinister intense parade

White noise - Maybe the most successful atmosphere on here - has Sunset, ‘Spider and I’ vibes - Barratts’ words seem perfect

LooseTalk - a great end surprise - the small guitar licks and drumming are thrilling as F*ck…..couple of listens and her voice is perfect

So for me a wonderful challenging departure - maybe his most exciting and thought provoking
album since The Debut Roxy ….0r……These Foolish things …0r Stranded …..or Avalon …..or The Jazz age ….

A great critique, Gardner - very comprehensive.

I find myself wondering about the considerable role James Grazke has played in this album: co-video direction, co-production, co-programming, recording & mixing, co-artwork (did i miss anything?!). I suppose in many ways it's a reflection of the tight ship at Studio One, but BF is very quick to name-check him and his technical prowess. It suggests a highly-motivated, dynamic relationship between the two. Considering BFs track record for delay and control - however well-intended - it's something we should probably collectively congratulate James on. I look forward to the next chapter in their rather exciting collaboration.

Oh, and speaking of the artwork, I love this, especially the back cover - very stylish and retro. Complemented beautifully by Damien Love's words.

Chers amis,

merci mille fois!

I wish we could meet at a pub tonight and discuss this surprising release by our hero. Greats reviews from ukrichard, Gardner and le grand W2. I still didn´t get my copy and I find the digitally versions so poor in quality that I don´t usually listen to them. As far as I have, I really like Orchestra.
Bonne printemps à vous tous!

Loose Talk, 2nd to 12th listen.
What an intriguing album this has turned out to be. An absolute grower. Although I regret that BF didn’t opt for longer instrumental passages, there’s still plenty to enjoy. Stand Near Me, Florist, Orchestra, Pictures On A Wall, Loose Talk—they all have their own quirks. Never thought BF would still surprise me in 2025.

So glad that it's grown on you - I take your point about the longer instrumentals but - I guess they chose the length for a reason - I think there might've been a statement of intent and they stayed within guidelines - however Florist seems to get some extra leeway - personally I'd have liked 'Pictures on a wall' and 'Holiday' to last longer .. well, that's my feelings at the moment .... I'm starting to love the piano on Big Things ....

There's an interesting poll on Bryan's new album on THE MAIN THING (Roxy Music and Bryan Ferry fan group) Facebook page...

Wow!!!

And I thought I was the only one who disliked this album.

The result doesn't surprise me at all.

There are participants in this forum who claim
(and I irrevocably accept their opinion) that Bryan has returned to the roots of his creative and artistic work with this album.

I see it completely differently.

No Ferry vocals, no Ferry lyrics, and music from the old mothballs remixed.

The good old wine from the precious bottle is empty.

Phil said about two years ago: Bryan is doing some strange things these days.

How apt.