Category Archives: Album & EP Reviews

PUDDLE OF MUDD – re(disc)overed

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Since Puddle of Mudd began life as a bunch of post-grunge Nirvana wannabes with a strong connection to Fred Durst, the idea of them recording a covers album made up of (mostly) seventies rock classics is a little baffling.  However, that’s precisely the path they’ve chosen for their 2011 release ‘re(disc)overed’.

The idea that Puddle of Mudd could even attempt to record a creditable version of Free’s ‘All Right Now’ is a very odd one indeed, given that the original is something of a classic rock sacred cow.  Yet somehow, they manage to record version of this timeless classic which is surprisingly enjoyable in its own way.  This is largely down to Paul Phillips’s abilities as a guitarist, and his tones on ‘All Right Now’ mimick Paul Kossoff as best as he is able.  Even Doug Ardito’s bass playing maintains the presence of Andy Fraser’s take on the original cut, so that too, really should be applauded.  Naturally, Wes Scantlin is no Paul Rodgers so it falls down a little (ie: a lot) in the vocal department.  However, it works well enough all things considered.  Likewise, a sturdy run through of The James Gang’s ‘Funk #49’ has moments of great playing from Phillips, who really seems to get the most out of its bluesy tones.  Steve Miller’s ‘The Joker’ comes with a well crafted arrangement – as close to the original as POM can muster – where Phillips has some great fun on the slide guitar, and Scantlin’s nasal vocals occasionally give this well known number a slightly country vibe, particularly on the chorus.  It’s never going to match the original for most people, but it’s respectful enough.

Scantlin’s nasal approach is a little unsubtle with regard to Bad Company’s ‘Shooting Star’, but he does the best he can, especially since it doesn’t completely suit him.  As before, though, it’s the rest of the band which really hits the mark.  Shannon Boone’s drumming is incredibly solid throughout, and Phillips’s electric guitars have plenty of presence, but it’s the mandolins and acoustics which prove the most effective ingredient.  The featured solos have plenty of gusto (perhaps even a little too much) and the addition of female backing vocals and an old organ give the end of the song a fairly rousing send off.  One of the disc’s lesser known tunes, ‘Everybody Wants You’ (originally by Billy Squier) is a decent-ish rock tune, and although POM play it a little harder all round, it doesn’t really lose much in translation.  Squier’s limited vocal range also means that this is also one of Scantlin’s better efforts.

Perhaps best of all is a spot on take of Tom Petty’s ‘Stop Draggin’ My Heart Around’.  The arrangement is almost identical to the original, perhaps a little tougher, thus suiting the slightly rootsy end of Paul Phillips’s playing.  Obviously it doesn’t really challenge Scantlin in the vocal stakes either.  His range handles Petty’s words admirably, but once BC Jean challenges him with her take on Stevie Nicks’s counter vocal, he appears a little out of his depth.  BC absolutely nails the Nicks part, and although she doesn’t possess the same degree of wobble in her voice, she definitely has the presence to make the track work very well indeed.

Led Zeppelin’s ‘D’Yer’Mak’er’ doesn’t come off anywhere near as well.  The drums lack John Bonham’s power and the cod-reggae which the mighty Zep just about made enjoyable comes across here as weak.  The guitar parts are okay, though nothing special, but Wes Scantlin’s voice really struggles throughout.  Robert Plant was able to lend the original a bit of style, but Scantlin rasps and drawls his way through a very painful four minutes.  For all of its awfulness, though, that doesn’t grate as much as the version of Elton John’s ‘Rocket Man’.  Piano – check.  Swirling strings – check.  Choir of backing vocals – check.  Wes Scantlin’s vocal no better than a grungy dirge – check.   There aren’t enough words to describe how misguided this cover version is.  Trust me when I say that once you’ve heard it, it can never be unheard.  And I think it’s gonna be a long, long time before you ever choose to listen to it again.

Elsewhere, POM tackle the Stones ‘Gimme Shelter’ like any number of pub bands, AC/DC’s ‘TNT’ with a reasonable amount of gusto but none of Bon Scott’s cheeky charm, and absolutely drag Neil Young’s ‘Old Man’ through the pain barrier.  You never want to hear their version of that ‘Harvest’ classic…you really don’t. As with ‘All Right Now’, Phillips’s guitar work is commendable, but once Neil Young’s distinctive, fragile whine has been replaced by a Kurt Cobain-esque drawl, the magic is lost. A selection of female backing vocals help the chorus, but it’s just not enough.

It has a couple of high spots, but overall, ‘re(disc)overed’ is a very average disc, only of interest to hardcore Puddle of Mudd fans.  Still, if this makes a few of those fans check out a Free, Bad Company or Steve Miller album, at least it’s not been an entirely pointless exercise.

August 2011

VARIOUS ARTISTS – Listen To Me (Buddy Holly Tribute)

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Had he lived, in September 2011, Charles Hardin Holley would have been celebrating his seventy-fifth birthday. To mark the occasion, in June, Buddy gained a tribute album celebrating his life and music. ‘Rave On Buddy Holly’ featured a whole host of rock and pop artists, each reimagining Holly’s songs in their own image. For Buddy’s more “traditional” fans, this album gained a mixed response, due to its favouring exposure to musicians from an alternative rock background. Comments like “travesty” and “spinning in his grave” were bandied about among the more narrow-minded listener. However, what they failed to appreciate is that the biggest travesty on the album did not come from the likes of The Strokes, Detroit Cobras or Black Keys, but from a well established artiste: Lou Reed’s ceremonial trashing of ‘Peggy Sue’ has to be one of the worst things ever committed to record in the name of tribute. However, regardless of what Buddy’s fans thought of that tribute album, it’s possible that Holly himself would have been overjoyed that his music was still important to people over half a century after his passing. While he may not have enjoyed the interpretations of his songs, he too, possibly would have been happy that his music had meant so much to such a broad audience.

Three months later, ‘Listen To Me’, a second tribute album appeared, this time with Holly’s widow’s blessing. If ‘Rave On Buddy Holly’ was geared towards the NME reader, this second tribute is aimed at a different audience, an older crowd – possibly the discerning Mojo enthusiast. For those who baulked at the idea of ‘Rave On Buddy Holly’, ‘Listen To Me’ is a disc which some will find more sympathetic to Holly’s songs. It features an impressive array of artistes, though it must be said, the end result is largely restrained.

One of this tribute’s edgiest performances comes from New York pop-rockers Cobra Starship and their rendition of ‘Peggy Sue’. They retain most of the original tune, but add a little of their own flair. This comes by way of a selection of new wave keyboards, a dual vocal and a heavily processed guitar solo. It’s radio friendly enough and manages to bring the tune into the twenty-first century without losing all of its spirit [fellow New Yorker, Mr Reed, please take note]. Patrick Stump may have an alternative background through his connections with Fall Out Boy, but his solo recording of ‘Everyday’ is syrupy and quite ordinary. The use of xylophones and backing vocals is pleasing – and the track is worth hearing for those – but Stump’s lead vocal lacks the power of some of his previous work. You’re never likely to skip it, but it lacks that certain something it should have had.

As said, for the most part, the other artists featured on ‘Listen To Me’ are of a more mature persuasion (for that read “suitable for more undemanding audiences”). Natalie Merchant offers a simply lovely rendition of ‘Learning The Game’ which blends solo voice and piano with an occasional violin accompaniment. The music is soft and respectful, but it’s Merchant’s voice here which is the big draw. Her slightly weary, slightly warbly vocal line pulls every ounce of heartbreak from the song’s lyric. Singer/actress Zooey Deschanel also scores one of the album’s best results with a version of ‘It’s So Easy’ which is very rich in the vocal department. Her lead voice is strong and as natural as ever, but she’s also joined by a choir of backing voices which more than compliment her. With her recordings as one half of She & Him (featured on the “other” Buddy tribute), things are often quite sparse, rarely allowing for such swirling gorgeousness. ‘It’s So Easy’ has rarely sounded so appealing.

Beatle enthusiast and full time beard wearer Jeff Lynne takes hold of the reins on a version of ‘Words of Love’. It’s pleasant enough, but those familiar with the ELO man’s work beyond the 70s know exactly what they’re in for here: the guitars ring out crisply over the top of a horribly compressed drum sound, making the track sound like a Traveling Wilburys out-take (albeit one with a flat vocal). Interestingly enough, though, it doesn’t sound as much like a Wilburys cast off as Lyle Lovett’s version of ‘Well All Right’! Lovett’s country tinged vocals are very well suited to this number, and it’s possible to imagine Roy Orbison giving it a similar turn during the twilight of his career. It’s the arrangement here which really works though, and a superb blend of acoustic guitars and mandolins sounds tailor made for the song.

The hopelessly overrated Imelda May lends her retro schtick to a ‘I’m Lookin’ For Someone To Love’, where the high points include a muted trumpet solo and rock ‘n’ roll guitar solo. None of the kudos here should in any way be given to May herself, who severely lacks the chops her chosen genre of music requires. Seriously, why does this woman’s bland take on rock ‘n’ roll lead to praise being heaped upon her, when there are other retro artists out there who’ve either been denied just as deserving a credit or, rather more unfortunately, fallen by the wayside? The god-like Jackson Browne’s velvety vocals are a joy to hear on a softly orchestrated ‘True Love Ways’, however. Granted, he’s not pushing the envelope musically or vocally in any way, but the song suits him very much indeed. Jackson Browne’s many fans will find this cover a delight for sure.

Linda Ronstadt lends her distinctive and much loved voice to an otherwise uninspired run through of ‘That’ll Be The Day’, while Brian Wilson stamps his trademark style on ‘Listen To Me’ with similarly unsurprising results. Elsewhere, Ringo Starr and his band sound like they’re having fun with a slightly calypso tinged take of ‘Think It Over’. It’s been said many times, but Starr isn’t the world’s most gifted vocalist, but what he lacks vocally, he makes up for with enthusiasm – and this is no exception. For those looking for someone else to reinterpret more of Holly’s sadder tones, Chris Isaak does not disappoint, as his crying vocals lend an expected amount of class to a version of ‘Crying Waiting Hoping’. With a sparse arrangement which centres around Isaak’s overly emotive voice and his retro guitar sounds, this certainly rivals Natalie Merchant in the heartbreak stakes.

The disc closes with an unnecessary and altogether pointless novelty entry. Legendary comedian Eric Idle hams his way through a rendition of ‘Raining In My Heart’ which, at first, combines a spoken vocal and soft string accompaniment with a few sound effects. As the thunder claps, Idle pretends to cry. And with that, things move into the mid section which replaces the soft strings with jazzy electric piano, before Idle turns everything into a grotesquely annoying knees-up. Just horrible.

While the magic of Holly’s songs shines through, most of these covers come across rather safe (Idle is not included in this overview, since his effort seems rather contrived and tacked on the end as an afterthought). Most of the performances are respectful – stately, even – but compared to ‘Rave On Buddy Holly’ it’s a rather predictable collection of songs. That doesn’t necessarily make it worse – for some listeners, it represents a better vision of what they’d expect from such a tribute, and is certainly a top collection filler if picked up at the right price.

September 2011

RED HOT CHILI PEPPERS – I’m With You

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Red Hot Chili Peppers’ 2001 album ‘By The Way’ can be seen as a pivotal album for the band.  While their early 90s releases ‘Mother’s Milk’ and ‘Blood Sugar Sex Magik’ very much acted as a worldwide breakthrough with a strong mix of rock and funk, ‘By The Way’ bought a new maturity to the Chili Peppers sound.  That album’s songs had many more soulful elements and fewer rap style elements than previously, and the song writing became even more radio friendly.   The band attempted a similar vibe on their 2006 follow up, ‘Stadium Arcadium’ – a sprawling double set which almost did away with all things overtly funk driven.  Quite frankly, although ‘By The Way’ achieved some enjoyable results, by comparison, ‘Arcadium’ was bloated, far too safe and ultimately incredibly boring.

Half a decade later, the band has seen an important change in personnel, with long serving guitarist John Frusciante having departed (for the second time).  With new blood comes new ideas, but although the arrival of Josh Kinghoffer (a man who once had a band with Frusciante) has given the band’s sound a noticeable lift, he doesn’t seem to have changed the Chili Peppers as dramatically as the arrival of Dave Navarro back in 1996.

Those who approach ‘I’m With You’ – the Chili Peppers’ tenth studio release – expecting a return to the arrogance and bluster which fuelled ‘Blood Sugar Sex Magik’ are likely to find the album a little too commercial in places, but thankfully, it has more spark than the band has shown during the preceding decade.  And while there’s an instant familiarity with some of the material, there’s never any obvious point where the band appear to be rewriting old songs or attempting to live off past glories.

This is evident right from the moment the opening number ‘Monarchy of Roses’ hits its stride.  Following a somewhat messy intro of feedback squalls and rolling drums, the rhythms are incredibly tight.  Chad Smith sounds more inspired behind his kit than he has in some years, while Klinghoffer’s guitar rhythms are sharp and heavily driven by funk.  As you’d hope, Anthony Kiedis’s vocals are incredibly tuneful and Flea’s accompanying bassline is busy, though not as out there as his formative years.  It’s a fantastic opening statement, one which you’d fear the band are no longer capable of following with a similar intensity, however, during following track, ‘Factory of Faith’, the band sound just as enthused – perhaps even more so.  The number is dominated by Flea’s bass, constantly looping and bending, over which Kiedis delivers a vocal which has a hard, almost staccato style (much less flowing than most his ‘Stadium Arcadium’ performances). These elements combined celebrate the band’s older funk elements while pitching them against a strong chorus, thus tipping the hat to their more radio friendly sounds of the naughties.

Even more surprising, parts of ‘Look Around’ resemble the band which recorded ‘Mother’s Milk’ almost two decades previously.  Yes, it’s a little slower and, of course, a little more mature, but the thickness of Klinghoffer’s guitar tone brings a strong tribute to the Chili Peppers of yesteryear.  His leads even mimick Frusciante’s tuneless wails on occasion.  As for the song writing itself, the funky verses are enjoyable, but the chorus is stupidly infectious – one of the best things the band has written in a long, long time.  Strong vocals, strong melodies, strong musicianship; you really couldn’t ask for more.  The semi-acoustic ‘Brendan’s Death Song’ shows the band’s softest side at first, with a gentle arrangement underpinned by Smith’s rolling drums – almost tribal on occasion – but before long things sound a little predictable.  There’s no obvious hook here and things never pick up beyond a mid pace. A sharp rise in aggressiveness towards the end allows Smith to bash at his kit in a tried and tested rock style, and that change of mood is much needed.  However, despite best efforts from all concerned, a combination of relatively ordinary arrangement and slightly too long a duration makes this number ‘I’m With You’s weakest link.

‘Goodbye Hooray’ has a sharp edge in a style the Chilis have never really had before.  This is likely down to Klinghoffer’s guitar tones which are more insistant than most of Frusciante’s noodlings, though certainly not as aggressive as Navarro’s leads on tracks like ‘Warped’.  Throughout this number, they combine a typical musical sharpness with another very tuneful chorus.  Those who came to check out Flea’s basslines with probably find this is a number they’ll return to most frequently; not only does he turn in some upfront bass which busies almost relentlessly beneath what is otherwise another commercial chorus, but there’s also an incredibly impressive bass solo midway.  Not to be outdone, Kinghoffer’s featured solo at the end of this number is angry and metallic – perhaps the most threatening piece of guitar work to appear on a Chili Peppers record since Dave Navarro’s departure.

‘Annie Wants a Baby’ brings a greater leaning toward pop harmonies, but even these are generally more inspiring than anything ‘Stadium Arcadium’ even attempted to offer its audience, similar or otherwise.  ‘Annie’ captures the band in fine vocal form, but perhaps most importantly, gives each of the players equal space in its arrangement.  Chad Smith provides a solid backbone and Flea’s basslines are unwavering – never missing the opportunity for a few interesting fills on occasion. Perhaps, though, it is Klinghoffer’s ringing guitar tones which bring the greatest element to this number, proving that he is gifted with a little more finesse than his immediate predecessor.

The lead single ‘The Adventures of Raindance Maggie’ is equipped with a great pulsing bassline and singalong chorus.  It isn’t the most adventurous cut here, but even so, it’s hard to knock the arrangement – casting a funky, yet poppy groove throughout; even with the addition of a slightly intrusive cowbell, it’s all great stuff.   ‘Even You Brutus’ brings something a little different to the Chili Peppers’ repertoire – a tune which has a strongly rooted piano line.  After a slow intro, the tune moves into a slightly r ‘n’ b influenced groove where that piano lays down some hard chords throughout.  Even though this tune doesn’t have the sharp qualities of a few others on ‘I’m With You’, Flea can still be heard beavering away underneath the chorus, weaving intricate basslines, making them fit where others wouldn’t dare think they would be suitable.  While certainly not gold standard RHCP, you have to give the band a little credit for trying something new.

Combining a few pounding drums with a calypso inspired (dare we say disco, even?) arrangement, ‘Dance Dance Dance’ closes the selection of tunes with something very upbeat.  As with most of ‘I’m With You’, it’s well crafted, but it’s with a brief instrumental break where the greatest moment can be heard.  Klinghoffer cranks his guitar a little and Smith also ups the ante and the pair drive home a great, choppy riff; if only it had gone on longer than a few bars, the band could have really started cookin’!  But a few bars is all we’re given before returning to the funky calypso-ish sounds.  It could be said ‘Dance Dance Dance’ a little throwaway, but it makes for a pleasing end to the album.

Despite all the pre-release hype, it was likely that ‘I’m With You’ could have wound up being a crowd pleasing, relatively safe affair that only served to make middle aged people feel hip.  It’s so thrilling to be able to say that the Chili Peppers were as good as their claims prior to the album’s release: they really sound like they’re getting off on this material and not just going through the motions.   Since Flea has said these fourteen cuts were selected from a stockpile of seventy songs, there’s a strong sense of quality control – and it shows.  Welcome back, guys, welcome back.

August 2011

TOMMY STINSON – One Man Mutiny

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one man mutinyTo those without a proper musical education, Tommy Stinson is the bassist with Guns N’ Roses. Everyone else will be aware of his cult legendary status as an ex-member of Minneapolis punk/alternative/college rock band The Replacements and live member of Soul Asylum. In addition, Stinson has recorded solo works and fronted a couple of cult bands. The Bash & Pop album ‘Friday Night Is Killing Me’ (released back in 1993) is essential listening, capturing Stinson’s post-Replacements brand of trashy rock at its finest.

There seems to be an unwritten rule for any musicians once associated with The Replacements, the rule being that most of their post-Replacements work contains a strong echo of that band (it’s even true for the four solo releases by drummer Chris Mars). Stinson’s second solo release, ‘One Man Mutiny’ is no different – and for longtime fans, does exactly what it says on the tin. Across ten songs, TS taps into a brand of rock which combines roots and Americana, but more often than not served up with a liberal bar-room swagger which would make Mick and Keef proud.

With its basic stomp and drawled vocals, ‘Don’t Deserve You’ comes across as particularly heavy handed (even for Stinson), but it’s given a timely lift by some top-notch lead work played in an angular fashion. Hardly Stinson’s finest hour, but it’s an improvement from then on. ‘It’s a Drag’ taps into Stinson’s beloved Rolling Stones fixation, with ‘Gimme Shelter’-esque rhythm guitars, aggressive slide and Stinson’s nasal vocals backed by female harmonies. This is why you’ve always loved Stinson, and although you’ve heard him churn out variants of this kind of thing time and again, it’s what you came looking for when you chose to check out ‘One Man Mutiny’. Since this kind of thing has been effective for Stinson for a couple of decades, there’s no reason for him to change.

With the almost wholly acoustic ‘Zero To Stupid’, Stinson taps into the psyche of former bandmate Paul Westerberg, with a sneering vocal across a country number which celebrates the inability to hold your drink. While the arrangement remains percussion-free throughout, an upfront bass does a great job at marking time, and while a few of the yodely vocals are a little unnecessary, the lapsteel accompaniment brings an element of class, albeit in a slightly inebriated style. The lapsteels carry over to ‘Match Made In Hell’, which is perkier all round thanks to some plinky-plunky ukulele sounds and glockenspiels. While Stinson doesn’t sound as at home here as he does churning out Stones homages, this is enjoyable enough, with his nasal voice well suited to the arrangement.

‘All This Way For Nothing’ also sounds different at first with a bouncy pop arrangement featuring prominent keys, though within a couple of bars, Stinson reverts to what he knows best: the slide guitars kick in and his drawling voice carries a rousing pop/rock number with a simple chorus. The hallmarks of a Replacements related recording are here in spades; if you’re a fan of that band and its various solo offshoots, this’ll grab you instantly. The jangling guitars which drive ‘Meant To Be’ and ‘Sieze The Moment’ are even further in keeping with the Replacements work circa ‘Don’t Tell A Soul’; even the vocal structures lends themselves to something which would have suited Paul Westerberg. You’ve heard it all before, so often in fact that no further elaboration needs be made; even so, in terms of well-rounded, well-written numbers, this pair represent ‘One Man Army’s real gems.

The title cut is a simple acoustic workout which was cut live in a hotel at 3am. After a false start, Stinson’s voice wavers as he stretches his voice and occasionally fudges lyrics as if they’re not quite complete. While not the best cut on the album, it’s raw, intimate nature brings the listener closer to the artist. Not a patch on Paul Westerberg’s similar work from his ‘Stereo’ disc, but it’s not without a certain rustic charm.

Although a little rootsier and more retrained than some of his previous works, Stinson is unlikely to win new converts with ‘One Man Army’. That said, it’s great that he’s returned to studio work and for his army of devoted followers, this release will be essential.

August 2011

ANDREW DANSO – f i n d

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Andrew Danso is an independent musician who dabbles with ambient and progressive soundscapes. ‘f i n d’ is his second solo release (third overall, including an album credited to Tera), and is more experimental than his previous works. Those interested in prog rock or ambient music will find much to enjoy with ‘f i n d’, although perhaps those likely to enjoy it the most are those who enjoy a solid fusion of the two subgenres.

Beginning with an almost world music meets ambient style, ‘Go Again’ has a main thrust which derives from a percussive beat. This isn’t especially interesting on its own, but when combined with Alan Danso’s relatively simple but bendy bassline, it has plenty of appeal. Over this musical loop, Andrew Danso’s lead vocal sounds a little wistful. There’s something about this number which lends itself to The Pineapple Thief; and although this would likely be considered filler material for those guys, it provides a decent opener into Andrew Danso’s 2011 work, setting the general mood effectively.

‘Ear To Earth’ opts for something even more new age, as electronic loops mesh with the sounds of rainfall and the occasional interruption of a city traffic and sirens. Danso puts his own mark on the piece by way of some seemingly unrelated guitar notes, which drift in and out as they please. While his playing never forms the structure of an actual tune, his jazzy tones are marvellous. Realising that a similar follow up could potentially allow things to sag, Danso follows this with something in an absolute contrast. The ringing chords which begin ‘Walk Walk Sunshine’ – a more standard pop/rock number – are similar to The Police’s ‘Everything She Does Is Magic’ (pure coincidence, surely); after a brief intro, Danso’s guest musicians get more to do here than anywhere else. The whole band launch into what is essentially a fairly ordinary rock tune, over which the vocals are slightly distorted. The alternative rock grooves stick out half a mile here among the ambient stuff, but you have to give Danso credit for mixing it up just a little.

‘Electronic ABC’ is perhaps the releases most promising number. It begins with Morse-style rhythmic clicking, augmented by a bottom end pulse. As the layers build and Danso’s guitar work sits over the top, it all becomes more than reminiscent of early Porcupine Tree. Rather more specifically, it sounds like a movement from that band’s epic ‘Voyage 34’. Promising, yes, but it had so much more potential than it actually achieves… A big downside is its length. By the time the pieces fit together and Danso really starts to get a groove going, it’s almost over; ambient pieces in this vein certainly benefit from extended grooves, and it would have been so easy for this track to fall in line. ‘Boy, Man, 11’ is one of ‘f i n d’s longer pieces, and as with most of the release, it’s primary concern is that of atmosphere as opposed to a being a obvious song of any kind. Danso’s guitar weaves patterns full of echo and the vocals are hushed. It’s mellow, somewhat trippy mood puts it in a similar frame to Devin Townsend’s ‘Ghost’, though perhaps reimagined by The Pinapple Thief’s Bruce Soord. It manages to sustain its four minutes well, by introducing various drum loops, though these never reach any kind of climax.

Bringing back a few of the jazzy tones from ‘Ear To Earth’ and mashing them with a constant jangle, ‘Rain, Go’ is another of the releases most upbeat numbers. Drummer Ben Simpson plays a solid backbeat, while Danso’s vocal has been heavily filtered. Once again, the influence from early Porcupine Tree is unavoidable, but here the mood is very much one inspired by Steven Wilson’s ‘On The Sunday of Life’ bedroom experiments, as opposed to the rather more lavish tones of ‘Voyage 34’ or ‘Up The Downstair’. Like ‘Walk Walk Sunshine’, ‘Liar MD’ is a little out of place with the overall sound of the disc with its louder guitars, but whereas ‘Sunshine’ has a hint of something song based, ‘Liar MD’ never really gets off the ground… Although the multi-layered vocals provide some interest, even these aren’t among the album’s better selection of voices. Much more effective is the way a selection of multi-layered voices gets used on the title track. Wordless vocals are set against each other to create something not too far removed from a chant, while the guitar harmonics create an ambient drone. Listening to it, Danso has obviously been inspired by Devin Townsend here, and generally that’s a good thing.

When Danso’s arrangements strike the right balance between progressive sounds and atmosphere, the disc is very enjoyable. There are times when those atmospheres get hampered by meandering (as with ‘Pour’, a two minute guitar loop and some rain sounds) but given the particular musical niche, that’s to be expected. Granted, lots of Danso’s musical soundscapes are indebted to Porcupine Tree and The Pineapple Thief in some way, but that’s not to say ‘f i n d’ is any the weaker for it – quite the opposite. When used effectively, homage can work very well indeed.

August 2011