Every eight years or so, like some magnificent celestial event, we are graced with the presence of a new Blue Nile release. Heralded by legions of critics and musicians alike, the music of the Blue Nile has largely fallen under the radar of popular culture. As music has shifted and morphed over the last 23 years, the Blue Nile sound has changed very little. It is a testament to their unique vision that any of the tracks on High, with the possible exception of She Saw The World, could fit right in on any of their previous releases, extending back to the early 80s. Where with any other act this might be a taken as criticism, with the Blue Nile it is simply a reflection of the purity of their music. In many ways, their music is as much an attitude, a commitment to sonic and emotional perfection, as it is collection of notes and lines.

I have long contended that Paul Buchanan could sing warning labels and make it sound compelling. The passion and range of emotion he is able to express is, in this reviewer’s opinion, equaled by none. Indeed, there is rarely much happening on the surface of a Blue Nile song. Skimming their lyrics is generally underwhelming- simple fragments of being and slice-of-life tales. But infused by the earnestness and unwavering sincerity of its members, these songs not only come to life, but become something of a spirit themselves. Their music becomes a soundtrack to being.

Like any great art, the music of the Blue Nile is somehow able to make the listener experience profound emotion as if it were their own. Indeed, it has been said that their music sounds more like being in love than love does. So it was with great anticipation that I listened to their first full-length since 1996’s Peace At Last. And, since we generally only get an average of one Blue Nile song per year, I decided to note each track individually.

Days Of Our Lives. High opens with this very low key track- a minimalist peek into a simple life. A sketch that allows the listener to supply the detail. Lines like “An ordinary miracle, is all we really need. An ordinary miracle, you and me” can only be brought to life by a gifted vocalist.

I Would Never. A simple, soulful love song. This one reminds me of the Hothouse Flowers at their best. Again, few could sing lines like “I could never turn my back on your love” and will it with as much intensity as Buchanan. This track recalls Happiness from their Peace At Last album- gorgeous layered acoustic guitar over bass and synthesizer. Here we get the first great lyric from High: “When the sun is going down, and there are cars against the sky, I have seen my hometown in your eyes.” The singly plucked and muted acoustic guitars crisscross like feathers through this track.

Broken Lives. An aching elegy for the return of a lost love. Nice keyboard over synthesizer effects here. Another great lyric- “Counting the TVs, counting the stars, it’s so unfunny I don’t know where you are.”  The track builds nicely to a series of layered guitars and perfunctory keyboard.

Because Of Toledo. Simple and beautiful- this structure showcases the ‘less is more’ approach the band have long been grounded in. A very simple vocal over a single acoustic loop. Because Of Toledo appears to be about a man trying to clean up his life, or find his center within the stillness and dust of middle America. A wonderful fragment- “A girl leans on the jukebox in a pair of old blue jeans, says I live here but I really don’t live anywhere.” The strongest lyrics on High can be found on the track. “The women that you love sometimes are the water that you drink” and “Lipstick killed the cocaine traces” are instant Blue Nile classics. Something of a Twin Peaks-like peek into the dark side on simple American life. Closes with a gorgeous trumpet outro.

She Saw The World. This is new territory for the Blue Nile- a high-energy, almost breakbeat track. Like many of their lyrics, much is implied and bundled to lines like “She saw the world and she wanted it all, what can I tell you?” This is certainly the only danceable track on High. Another nice visual on “Out on the corner a policeman is sending flowers.” This track is essentially about excitement and possibility- the fire of youth- and the music drives it appropriately.

High. The title track is an emotional monster. With the grandeur and gravity of its musical cousin “Let’s Go Out Tonight” from Hats, we’re asked the eternal question “Where are we going with our lives?” It is about being engaged in life- “In the bowling alleys, in the easy living, something good got list along the way… we could be high.” It is a look at the tragedy of routine- “Look at the morning people, going to work and fading away.” Big and profound, High is three and a half rapturous minutes at the heart of this disc. A lyrical indictment to living life on autopilot.

Soul Boy. Another straightforward love song elevated by the depth of expression in Paul Buchanan’s voice. “Take me as I am, like a soul boy.” Probably the least interesting track here, still a solid and worthwhile listen.

Everybody Else. More rhythmic than any track other than She Saw The World. “I don’t wanna be anybody else, when are we gonna be ourselves?” This one is a more upbeat lyrical sister to High- about celebrating being true to your nature. It hints to something more specific on lines like “I woke up good this morning, I’m gonna change this time. Downtown Lights-like guitars support the big voice and thumping rhythms.

Stay Close. Opening like an industrial ballad, the track appears to be a tender wish for a child leaving home. Again Buchanan’s voice captures a complex but near universal feeling by addressing it simply- “Stay close to me, stay close…” We see a hint of lyrical complexity/ personalization with “Blowin’ down the street, to see you one more time, is the world still at your feet, can you let somebody love you?” Warm synthesizer pushes the song forward and leaves a tenderness in the ears of the listener as the disc fades.

Electronic pop is not typically loaded with emotion. It tends to be catchy but sterile- danceable at best. Strangely it is the temperature of The Blue Nile’s music, the degree of warmth and sadness instilled by the three members, that makes it so unique memorable. Simple lyrical moments supported by sparse, often almost minimalist instrumentation. somehow arrive as blossoming moments of pop perfection. The experience is much like walking through the most sublime and enchanting museum, where each piece captures the specific emotion of a moment as uniquely as the next. It is as magical as music gets. Here’s looking to 2012, for the next Blue Nile release.