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2006’s The End of History established Fionn Regan as one of the finest singer-songwriters to emerge in recent years, splicing dextrously plucked acoustic guitars with literary allusions to captivating ends. A frank, genuinely heart-warming listen, Regan likened its gestation to “building an ocean liner with a butter knife,” a statement borne out by the intricate songcraft and sheer attention to detail throughout.
The Shadow of an Empire, however, is a gratifyingly different kind of record. Written while touring …History, Regan casts his net wider and with more confidence here: stepping up the tempo, reaching for the electric guitar and contemplating the world surrounding him as darkness tangibly sets in. If song titles like Genocide Matinee, Catacombs and Violent Demeanour weren’t sufficiently portentous, the central refrain of the latter leaves little doubt as to where Regan’s coming from: his “empire” broadly symbolising institutional oppression and its myriad repercussions. Even when traces of that old warmth creep back into the fold – and they do so far more than a cursory listen might suggest – an element of threat and uncertainty is ubiquitous, culminating on the ranging, piano-led title track that closes proceedings like some dashed cousin of The Times They Are a-Changin’.
Antecedents such as Dylan remain, though never quite impinge. Violent Demeanour revolves around a skeletal guitar figure strongly reminiscent of Leonard Cohen’s finest, and House Detective plays out like some kind of Subterranean Folsom Prison Blues – veering dangerously close to pastiche, Regan comes out swinging purely by dint of his charismatic wordplay. Protection Racket, meanwhile, feels closer in spirit to punk or early rock‘n’roll, his delivery twisting and straining accordingly.
Murky its backdrop may be, but instances of limpid beauty and reflection nevertheless abound in The Shadow of an Empire. As far as second albums go, it is a brilliantly bold, robust work, showcasing real development and the kind of graceful erudition that places Regan squarely ahead of the curve. --James Skinner
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Most Helpful Customer Reviews
9 of 9 people found the following review helpful
Format:Audio CD
The press release suggests a shift in the Earth: Fionn Regan's plugged in his guitar and notched up the attitude. But hold on to your shaking heads and save the Bob Dylan comparisons for Shadow Of An Empire keeps the Irish singer-songwriter closer to his folk beginnings than the pre-boom buzz might have you believe.
Lead single Protection Racket was an eye-opener; pledging allegiance to a barn-storming, punch-up and get-dancing spirit. To announce it a good four months before Regan's second album came by in its full form seemed - at the time - to be a means of warning the fans whose hearts were stolen by the Mercury nominated debut, The End of History, that this was quite frankly, going to be a completely different ride.
And to some extent, those warded away by October's giveaway download will be left equally dumbfounded by the likes of Genocide Matinee (musically citing Johnny Cash's early days) and Coat Hook (a perfectly structured two-and-a-half-minutes of modern day rock `n' roll). Somehow however, Regan maintains the charm that seeped into his more delicate debut, a debut which is as equally honoured as this new direction is; Catacombs doesn't completely replace a strum with a pluck, but vocals are uniquely untamed and loose, just as they were in 2006's Put A Penny In The Slot and Hey Rabbit.
Lines Written In Writer and Lord Help My Poor Soul though, see the songwriter at an emotional low; the former admitting "I want to tell you that I'd make your bed, break it up and I'd do it again, so it feels like you've been here, but I know that you're not, coming home". It almost seems as if this crusade of hard-knuckle rock music of which Regan's become swept away in, is a gimmick to help him keep at distance from real emotions. Lines Written In Winter arrives at a crucial time as a perfect example of acoustic songwriting, squeezed in-between the muscular House Detective and Violent Demeanour, and it's pretty much the only occasion where the lyricist exposes himself through first person.
Reciting music milestones that few records dare to, Regan somehow manages to keep his head, continuing to write well-developed melodies and striking lyrics. He remains a formidable word-smith, and a fast mover by the looks of things. However his career develops, it will be crucial for him to keep a tight hold of the bewitching elements that help make not just his debut, but also his latest, a refreshing listen.
Lead single Protection Racket was an eye-opener; pledging allegiance to a barn-storming, punch-up and get-dancing spirit. To announce it a good four months before Regan's second album came by in its full form seemed - at the time - to be a means of warning the fans whose hearts were stolen by the Mercury nominated debut, The End of History, that this was quite frankly, going to be a completely different ride.
And to some extent, those warded away by October's giveaway download will be left equally dumbfounded by the likes of Genocide Matinee (musically citing Johnny Cash's early days) and Coat Hook (a perfectly structured two-and-a-half-minutes of modern day rock `n' roll). Somehow however, Regan maintains the charm that seeped into his more delicate debut, a debut which is as equally honoured as this new direction is; Catacombs doesn't completely replace a strum with a pluck, but vocals are uniquely untamed and loose, just as they were in 2006's Put A Penny In The Slot and Hey Rabbit.
Lines Written In Writer and Lord Help My Poor Soul though, see the songwriter at an emotional low; the former admitting "I want to tell you that I'd make your bed, break it up and I'd do it again, so it feels like you've been here, but I know that you're not, coming home". It almost seems as if this crusade of hard-knuckle rock music of which Regan's become swept away in, is a gimmick to help him keep at distance from real emotions. Lines Written In Winter arrives at a crucial time as a perfect example of acoustic songwriting, squeezed in-between the muscular House Detective and Violent Demeanour, and it's pretty much the only occasion where the lyricist exposes himself through first person.
Reciting music milestones that few records dare to, Regan somehow manages to keep his head, continuing to write well-developed melodies and striking lyrics. He remains a formidable word-smith, and a fast mover by the looks of things. However his career develops, it will be crucial for him to keep a tight hold of the bewitching elements that help make not just his debut, but also his latest, a refreshing listen.
2 of 2 people found the following review helpful
Format:MP3 Download
Loved The End of History so had high hopes... wasn't disappointed. Far more of a 'proper album' than its predecessor. The lyrics are wonderfully disjointed, it's always a little bit stretching to find a narrative to any of the songs - but I personally like that! The imagery is fantastic. Love the extra bite that these songs have as a result of the beefier more electric sound. Why isn't Fionn fantastically famous?? Beats me.
2 of 2 people found the following review helpful
Format:Audio CD
Ignore the Dylan comparisons- to me they don't add up. To look for influences, look more to Ryan Adams- Fionn this is a brilliant follow up to the End of History. Keep moving forward.
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Most Recent Customer Reviews
Brilliant
I was a bit disappointed at first listen, but as soon as I accepted that this was not End Of History part 2, I realized the album is nothing short of breathtakingly life affirming. Read more
Published 9 months ago by Dalarna Rosewater
Great evolution !
Ok, I understand that people can be disappointed by this change of direction, and maybe they are listening to this new album with skepticism. Read more
Published 17 months ago by Béatrice André
Best album of 2010?
This is an extraordinary tour de force. Yes, some of songs veer towards pastiche of Dylan and Young but Regan is never just pastiche here: the lyrics sparkle and shine throughout. Read more
Published 22 months ago by More blank than Frank
A big disappointment
Don't buy this hoping for something similar to the sensitive and poetic folk of The End of History and Fionn's earlier EPs. Read more
Published on 3 May 2010 by Autumn
Shadow Of An Empire - SUPERB!!
I'm struggling to understand how people who loved his first album are only giving this 1 or 2 stars. It is a great great album no question about it. Read more
Published on 21 April 2010 by B. Havers
Fionn Regan - A shadow of his former self.
This album is to my great sadness probably the most dissapointing release of 2010 thus far. I thought Fionn Regan's mercury nominated 2006 debut "the End of History" to be... Read more
Published on 2 Mar 2010 by Red on Black
The first album = masterpiece!
The first album is one of my favourite acoustic album off all-time! The second album is too much change compared to the first one. The voice and the music are simply not there! Read more
Published on 26 Feb 2010 by Jean-francois Lemieux
A Shadow of his former album
Sorry Fionn.
I loved your first album (THE END OF HISTORY)- that is still probably one of my all time top ten albums. Read more
I loved your first album (THE END OF HISTORY)- that is still probably one of my all time top ten albums. Read more
Published on 26 Feb 2010 by Pagan Ronnie
Great follow up
i was a real fan of Fionn's debut and while this sees a slight gear (and label) change, it's still the work of a super-talented arranger and lyricist. Read more
Published on 16 Feb 2010 by Will
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