David Gray: Foundling (75%)

I've followed David Gray throughout his career, from 1993's A Century Ends, to Draw the Line in 2009. Fortunately for Gray's fans, his new album, Foundling was released on August 16th, 2010; not even a full year after its preceding album.

Gray is a master at his game. He's a folk/rock singer-songwriter who repeatedly shows off his affection for language, melody, and simplicity in his music. Though many of his albums have received critical acclaim, Gray seems to garner fairly modest radio play.

Foundling opens up with “Only the Wine”. A beautiful sounding song, simplistic and bare bones, this track's lyrics are just vague enough to evoke a number of different images. A forest with leaves glistening with dew. A drunken evening of love-making. An alcoholic asking for help. In fact, this isn't the only song on this album with lyrics open to a wide variety of interpretation. “Only the Wine” clocks in at two minutes and fifty-two seconds, and seems the perfect length for this album's opener.

The second track, “Foundling”, intros with a thrumming organ and some hand-slapped drum-skins. A sharp sounding guitar chimes in, and then Gray's voice finds it's place. Although this is another song with wildly unclear lyrics, he manages to belt it out like it means something, like it means everything at this very moment. This is one of Gray's talents; writing nearly incomprehensible lyrics, and yet still making us feel like we're getting it.

Following is a deep and heartfelt song, “Forgetting”. The whole song plays through with simple piano chords and vocals and begins a crescendo at the end, and easily emulates the feeling of the song's apparent content; a failed or abusive marriage or relationship. You won't walk away with a happy feeling from this tune.

“Gossamer Thread” picks it up just a bit, giving little relief from the woe of its preceding track. “The Old Chair” is a metaphor for yet another broken relationship. Like a chair being used, torn, split at the seams, unwanted, and discarded. We hear Gray singing with a strange electronic distortion on his vocals in “What in God's Name”, which leads into “We Could Fall in Love Again Tonight”, and it becomes more clear that this album is taking us through a story arch of love gone wrong, and the possibility of rekindling the fire.

The album wraps up with “A New Day at Midnight”, a song title that shares the same name as his 2002 album, and then closes with “Davey Jones' Locker”.

Foundling is a bittersweet journey of sweet, simple, subtle music and ambiguous but unmistakably sad lyrics. But then, if you're a David Gray fan, you probably saw that coming. Foundling, as a closing chapter to 2009's Draw the Line, should please long time Gray fans, but likely won't do much to introduce him to a new audience.

Personal Rating: 68/90 (75%)

Ratings Breakdown

1: Lyrics: 7/10
2: Significance: 8/10
3: Music: 8/10
4: Freshness: 5/10
5: Production Quality: 8/10
6: Composition: 8/10
7: Dynamic Range: 9/10
8: Humanity: 8/10
9: Cohesiveness: 7/10

Article first published as Music Review: David Gray - Foundling on Blogcritics.

Isobel Campbell/Mark Lanegan: Hawk (83%) {2010}

Hawk is the name of the collaborative album by Isobel Campbell and Mark Lanegan. Campbell and Lanegan have both been successful in their own right. Campbell was a member of the indie band Belle and Sebastian from 1996 until 2002, and Lanegan's most notable success comes from his time (2000-2005) as a member of Queens of the Stone Age. This is their third album together, preceded by Ballad of the Broken Seas (2006), and Sunday at Devil Dirt (2008).

Hawk's opening track, titled 'We Die and See Beauty Reign', brings a feeling of ethereality. Vocals melding and harmonizing over thrumming electronic strings, crystal clear acoustic guitar standing out amidst it all. Some of the lyrics become difficult to decipher, but this slow, simple song invites you to take an interest in it.

The second track, 'You Won't Let Me Down Again', informs us quickly that track one was not at all indicative of the rest of the album. It begins with some country sounding rhythm guitar, and then comes Mark Lanegan's lead vocals, gruff and bluesy, with Campbell's harmonizing night club voice playing the background. It's as though she just isn't satisfied unless she's able to add some sultry, otherworldly harmonies. And it works.

'Come Undone', track 4, takes a walk back through time, to the roots of soul and R&B. Starting off with some staccato piano and strings, this tune adds yet another element of depth and variety to the album. We begin to see just how varied these two artist's can be, and from how many genres of music they draw their inspiration.

The next track, 'No Place to Fall', caught me off guard. It's a cover of a Townes Van Zandt song, and it's incredibly well done. It doesn't lose any of the heart that Van Zandt put into it. It is a worthy cover.

'Get Behind Me' moves the mood to old style rock-a-billy, pushing the album ever forward on it's sonic journey. The journey, I might add, is quite a successful one, barring track 8, 'Hawk', which I would suggest not listening to at loud volumes. It's a very experimental sounding tune, with screeching sounds and background noise in place of vocals. At two minutes and twenty-eight seconds, it's just a little too long for what it is; a segue into the next song.

'Sunrise' brings to mind the imperfect voice of Meg White, filling the room with a nearly creepy sounding mirage of music. 'To Hell and Back', sounds very familiar. In fact, you could replace the vocals of this song with Neil Young's 'Only Love Can Break Your Heart'.

'Cool Water', could easily be a lost Townes Van Zandt song, with it's simple folk melody and guitar. 'Eyes of Green' is reminiscent of a 60's pop song, and the closing song 'Lately' is a nice bookend to the album, sounding like a cross between Bob Dylan and Dire Straits.

This album seems to work it's best when Campbell takes a backseat. Lanegan's vocals are stronger (along with guest singer Willy Mason), and Campbell's seem to work better as accompaniment, or harmony.  Too many bands are too caught up on 'genre', and it gets tiring when an entire album sounds the same. Thankfully, that isn't an issue here. Not one song on 'Hawk' is quite like any of the others, and I applaud them for the variety. I'll be looking forward to the next collaborative release by these two, when and if that ever comes along.

Check out Isobel Campbell and Mark Lanegan at their respective wikipedia pages.

TRACK LISTING

1. We Die and See Beauty Reign
2. You Won't Let Me Down Again
3. Snake Song (Townes Van Zandt)
4. Come Undone
5. No Place to Fall (Townes Van Zandt)
6. Get Behind Me
7. Time of the Season
8. Hawk
9. Sunrise
10. To Hell and Back Again
11. Cool Water
12. Eyes of Green
13. Lately

release date: August, 2010

Rating: 75/90 (83%)

1: Lyrics - 9/10
2: Significance - 10/10
3: Music - 8/10
4: Freshness - 7/10
5: Production Quality - 8/10
6: Composition - 9/10
7: Dynamic Range - 8/10
8: Humanity - 8/10
9: Cohesiveness - 8/10

Ray Lamontagne:God Willin' and The Creek Don't Rise (74%) {2010}

“God Willing & The Creek Don't Rise”, is the title of the newest album by Ray Lamontagne. Backed by his studio band, dubbed The Pariah Dogs, Lamontagne has created an album that deserves attention. Nicely enough for those of us who still use record players, this album has also been released on vinyl (and they were nice enough to throw in a free mp3 version with the vinyl purchase).

The album begins with Repo Man, a lesson in groovy blues with the flavour of Stevie Ray Vaughan thrown into the mix. Definitely one of the better songs on the album, Repo Man is the perfect song to accompany Lamontagne's raspy voice. It's quick, it's got kick, and it's the perfect opener for the album.

'New York City's Killing Me' is a contrast to the preceding song. Ray slows it down here with a heartfelt tune about feeling out of place, or rather a song about being stuck in a place he doesn't belong, or doesn't want to be, longing for change and freedom. Unfortunately, it brought me down, way down from the high I got from 'Repo Man'. It's almost too much of a jolt to enjoy it.

Track three, which shares it's name with the album itself, feels even slower. The tempo, the raspy voice; it almost feels like I'm back in the 80's with a Bob Seger tune playing on the radio. This trend toward slow songs with a lilting, depressing feel become the albums weak points.

The fourth track, Beg Steal or Borrow, is the only song I've heard on the radio from this album. Someone purchasing the album based solely on this song may find themselves wishing for more tracks of this calibre on the disc. Fortunately this one speeds it up a little bit, something much needed on this album. Beg Steal or Borrow has a country/folk sound to it, and along with Repo Man, it is one of my favourites.

I've listened to this album a handful of times now, and I find myself often skipping tracks simply because they are so slow and lacklustre. It feels like Lamontagne was in a sad sad place when he wrote these songs, and he wanted us to be right there with him. I just can't sit through songs like 'Are We Really Through', and 'This Love is Over' because it feels like they're trying to pull me down into a place I don't want to be. A place of despair that doesn't do me any good at all. These songs aren't bad, but I'd definitely have to be in a low and reflectively silent mood to enjoy them.

Old Before Your Time picks it up again, starting out with a plucking banjo and a simple beat and nice clear, defined guitar work. It's one of those songs that you tap your foot along to, and makes you feel fairly good about life. Again, his raspy voice works very well here, creating a picture of an experienced man singing the wisdom learned through life's hard lessons.

The last tune on the album, The Devil's in the Jukebox, is a song with depth. Backed by a beat, rhythm guitar, and harmonica that actually sound somehow further away than the vocals, this song puts you right into the middle of the band. It feels more like a group of pals playing music out in a field by the light of a campfire, a little unpolished, and a whole lot of real feeling.

God Willing & The Creek Don't Rise is a good album. It's worth a listen if you enjoy folksy/bluesy music, but the momentum of the album is definitely a drawback for me. Overall, it simply seems plagued by depression. For this reason, the album is definitely not useful as background music. When used as background music, all the slow songs seem to drag together, creating the feel of one very long and whiny episode.

The album gets a 3 out of 5, though I wish I could give it a higher rating because Ray seems like a likeable, down to earth sort of guy.

TRACK LISTING:

1. Repo Man
2. New York City's Killing Me
3. God Willin' & The Creek Don't Rise
4. Beg, Steal or Borrow
5. Are We Really Through
6. This Love is Over
7. Old Before Your Time
8. For the Summer
9. Like Rock & Roll Radio
10. The Devil's in the Jukebox

Click here to listen to some short samples from this album.

For more info on Ray Lamontagne, check out his official website, or his wikipedia page.


release date: August 17th, 2010 

New Rating: 67/90 (74%)


1: Lyrics - 7/10
2: Significance - 9/10
3: Music - 8/10
4: Freshness - 6/10
5: Production Quality - 7/10
6: Composition - 9/10
7: Dynamic Range - 5/10
8: Humanity - 10/10
9: Cohesiveness - 6/10