At 8:30PM the line outside the Orpheum stretches around the block; people are joining others in the queue but the atmosphere is friendly. It's a who's who of the indie scene, and a lot of musicians from other bands, even those who rarely attend local gigs, have turned up to support Stalko.
The glorious Orpheum Theatre in Gzira is very softly lit, more shadows than
light. Votive candles sit on crates covered in Stalko tablecloths, casting a
soft pink glow. The theatre itself was once a cinema in the heyday of film, but
now its pretty floor tiles and glorious ceiling fresco are faded and shabby. With
this dilapidated glory as a setting, Stalko set the tone for the evening and
their album Grandiloquence. The orchestral style that Stalko is known for finds
an adequate setting at the Orpheum.A little later than they had planned, Stalko emerge from behind the curtain on stage and reveal the reason behind their tardiness: a game of tombola at the hall lasted longer than scheduled, throwing the lads off schedule. Tim Ellis is the Jack-of-all-trades, playing the harmonica, melodica, accordion, keyboard and adding vocals. Mike Stivala performs vocals and guitar, and Chris Cini plays the violin.
As ‘Flotsam’ begins, every musician on stage engages and this produces a
powerful, passionate sound, climaxing in a crescendo of violins. The band's
gentle intensity blossoms with an 11-piece orchestra behind them; including a
full drum set, clarinet, trumpet, trio of strings, and guitars. The support of
these talented musicians gives an added depth to the Stalko sound, indicative
of the regal tone they have set for this album. However, it is softer songs
like 'Spires' where Stalko excel with their striking chords. At times the lads
are reminiscent of Owen Pallett, the Arcade Fire and even Beirut.Both Tim and Mike are so charming in their song introductions, it seems to be a result of sharing the labour of love that is the album Grandiloquence. After 5 years in the making, it deserves this splendid and decadent launch.
A stand-out track from the performance was 'Forever and Ever (and Ever)', a
song written by Ellis. The ghostly whining violins complement Ellis' melodica
and falsetto vocals, which always remind me of Wild Beasts, before fading out to a tango of violin and piano. Mike Stivala’s
performance on the ukulele in ‘Simone’ is reminiscent of Owen Pallett’s chirpy
violin style, in a carnivalesque song that could easily be released as a single.
Most of the orchestra take a break for ‘il-Mara ta’ fuq il-Bejt’, an acoustic
track – and the only song in Maltese. In intense moments, the song is evocative
of ghana (a traditional Maltese style
of singing); but Ellis’ vocals modernise this tale of the Maltese washerwoman. In
the context of the whole album, this song presents the image of a stout Maltese
washerwoman in an elegy for lost youth; an image that clashes with the rest of
the songs. Although it is a successful nod to tradition, it is rather out of
place in the album.
The long instrumental introduction implies the wholesomeness and simplicity
of the vintage-sounding song ‘Glimmer, Shine’. This is followed by ‘In a Hurry’,
a song Stalko fans are very familiar with. This well-established favourite marks
the peak of this grand performance, with Stivala's vocals comparable to Antony without the Johnsons. Because Stalko usually perform without
percussion, the accompanying mini-orchestra’s booming drums and trumpet tend to
produce a sound not unlike a sad war march, as in ‘Armstrong’. The lads finish
on the song ‘Two’, another vintage lament. The violin and piano on this song
could easily make it too melancholy, but this is balanced by the bouncy guitar,
bass and drums.The orchestral style of their performance suits Stalko very well, elevating their folk sound to a more regal variety of folk. Ellis, Stivala and Cini should certainly be proud of their magnificent album, brought to the public in the most glorious setting.
Photos from the Stalko Facebook page - link here
