It does not take very long to realize that this is a nicely put together record. The singing is intense in somewhat of a Springsteen/David Eugene Edwards (Woven Hand) manner, but unique from them. The surrounding instrumentation weaves in and out in a folk rock manner at times and works as a full throttle rock band at others. The Singer-Songwriter category does not quite do justice to the songs. I would say rock fans will like this more than people wanting straight folk, but it has a good general appeal to both the crowds seeking lighter thoughtful material and those that want a good rock beat. The music is rather universal and what is truly interesting is that the California duo behind this band has historically done so much better in Europe than in the US. While I often can understand why some great European born music may not translate as well in the US (and vice versa), I have never understood why several great US bands (Wipers, 16 Horsepower) do so much better in Europe. Add this band to that list, as US listeners need to join in. I believe this album of eleven original songs comes with a bonus CD containing a full live set. (David Hintz)
Brett Dean is not shy about revealing what his music is ‘about’. Whether inspired by certain individuals (as in Epitaphs), or by an ecological or human disaster (as in his String Quartet No. 1, on the now all too topical plight of refugees), Dean’s works are usually – perhaps invariably – driven by extra-musical narratives. Rather than tease out any innate structural puzzles or tensions, his music typically falls into short little dramatic narratives – no movement on this disc lasts as long as eight minutes, many of them rather less than five. The most obviously successful work here is Quartet No. 2, ‘And once I played Ophelia’, effectively a dramatic scena. Its soprano soloist is no mere extra voice (as in Schoenberg’s Second Quartet) but the leading protagonist. Allison Bell’s genuinely affecting performance is backed by the Doric Quartet’s expressionist scampering and sustained harmonies, the strings occasionally coming to the fore in the manner of a Schumann-style song postlude.