[09.02] On this second outing for this "supergroup" composed of Glasgow's finest, Snowpatrol's Gary Lightbody leads the troops through another gentle set of songs following last year's Y'all Get Scared Now. While one could get quite excited at the prospect of members of Arab Strap, Teenage Fanclub, Idlewild, Belle and Sebastian, and Mogwai et al collaborating, it is wise to not base one's expectations on those resumes. After all, there's no way I could envision a successful fusing of those diverse voices. In fact, it is Mr. Lightbody's stamp that is most clearly visible again, though this is a much quieter sound than the typical Snowpatrol material. The songs on this album are mainly acoustic, folky, and melancholic (no, I didn't say twee); most of which are based around acoustic guitars, piano and a beat that shuffles along in not much of a hurry. There's the occasional trumpet, which fits in very nicely, such as on the sing-along opener called "Grand Parade." The beautiful, yet melancholic "Cartwheels" doesn't exactly convince you that Mr. Lightbody is doing cartwheels, yet there is evidence that he thinks there's some reason to be happy. And he continues that with the positively up-with-people sounding (at least in the context of this lot of musicians) "You Are My Joy."

The entire album is perhaps a tad less dark than the first album, though still a great candidate for someone who needs something to curl up in a dark corner to as fall sets in. Arab Strap's Aidan Moffat ends the album, on "Whodunnit" being about as tuneful as he is capable of. This is one of the most rocking songs on the album, and definitely one of the highlights. What could have sounded like a flat pop song sounds like drunken threats from some fuck-up looking for a fight after the pubs have closed. Oh wait, that's how Moffat always sounds... I get the feeling that some people dismiss the Reindeer Section just because there is an expectation that its output is to be benchmarked with [insert favorite Scottish band from list above] or the suspicion that it is a thrown-together vanity project. If instead you expect a pretty little unassuming selection of quiet songs, I bet you will come away quite satisfied. For a crew of 27 musicians, it's quite an accomplishment that it sounds so intimate and coherent—particularly when you consider the diverse talents involved. But, I am still holding out for that Teenage Fanclub/Mogwai collaboration of post-rock Beach Boys reworkings.
—Nils