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12 of 12 people found the following review helpful:
4.0 out of 5 stars
worth the wait, 2 May 2006
Let's face it, if Tom Verlaine couldn't come up with a decent collection of songs after 14 years then he really wouldn't deserve the chance to ever make a record again ... that said, this is unquestionably one of his better solo efforts, perhaps most closely resembling the excellent Cover from the mid-1980s, and probably his best record since then.
Despite simultaneously issuing a whole album of instrumentals (Around), he starts and ends the album with instrumentals, but the rest is all songs, and in general they're pretty good. As ever, TV's vocals are far better in the studio than live. Perhaps there's less in the way of guitar fireworks than some fans would like, but when he does branch out on the guitar, he certainly hasn't lost his touch, though there is nothing resembling the extended soloing found on the likes of Marquee Moon. But if you like his songs, this is a very good album, quite varied in mood and style, varying from pretty to quite ominous and even aggressive in one or two places, with some quite evil guitar sounds. It's also superbly recorded - the bass is fat and true and everything has considerable presence on a good stereo.
Although this may not be the best place to start (though not a bad one) if you don't already have any of his records - that's always going to be Television's debut Marquee Moon - it's nevertheless extremely welcome evidence that one of the most individual talents in rock over the last 30 years is still firing on all cylinders.
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8 of 8 people found the following review helpful:
5.0 out of 5 stars
Tom is back, with a dark diamond!, 28 April 2006
Well, it took him a while! Fourteen (14!) years since the "Televison" reunion cd and the instrumental "Warm & Cool" - and a full 16 since his last solo effort, The Wonder.
Sonically, it sounds indeed like a mix of the Television and Warm & Cool cds, but it sounds clearer, more meditative than the TV one, and more focused than W&C.
At first listen, it works especially as a whole. As said it's an intimate affair so no epic guitar duels, even though one track has Jimmy Ripp playing second fiddle. Most of the guitars are by Verlaine, interlacing delicate flourishes, brooding low-note meandering lines, and the occasional crunch (Verlaine remains the master of delicate sustain). As with the sound of Lou Reed's Set The Twilight Reeling (the only record where Lou plays all guitars himself), this gives it a dense feeling of complete unity, of everything being exactly in place. The rhythm section is tight as black hole matter and mixed way up front. As usual, on some cuts Tom's voice is mixed so far back that you can hardly hear what he says - always found that strange for one whose lyrics are obviously important.
There's the occasional typical Verlaine sprechengesang, but not too much and gradually some songs stand out, like the crunching guitar 2nd half of Heavenly Charm, the touching dark Orbit, the lovely "Verlainy" From Her Fingers or The Earth Is In The Sky (2 of the more upbeat ones). All Weirded Out not only rocks with Jimmy Ripp, but also with Fred Smith & Jay Dee Daugherty.
In a word: superb Verlaine! Pre-listen at Thrill Jockey Records (good quality)
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7 of 7 people found the following review helpful:
5.0 out of 5 stars
Possibly his greatest work...ever, 29 April 2006
After over a decade of silence, Tom Verlaine (Television) produces what is possibly his greatest work. Those expecting another 'Marquee Moon' will be disappointed however, and obviously haven't been listening to anything Tom has done since the 70s. This is both a natural continuation of the best of his 80s work (it reminds me very strongly in places of the mood of Cover, the only album Tom ever made in Britain)and a very different approach to music from anything else out there at the moment. Gone are the meandering, sharp and ultra-influential Jazzmaster modal solos-replaced by a blistering variety of guitar tones produced on a salvage-job guitar combining a Strat body with Danelectro pickups, and played through old PA amplifiers. Tom's typical delight in experimentation is evident throughout, bothe here and in the companion album of instrumentals ('Around'-also an essential purchase). Most striking perhaps is the clear interest in both jazz and world music, both very 'un-rock' interests, as well as the complete (and welcome) absence of heavy-rock distortion that blights so much contemporary guitar music. Tom makes his guitar sound at alternate moments like a sitar, a harp, the sound of gently lapping waves, and (of course) a saxophone, and the blend of rhythm and lead work is dazzling. The lyrics throughout are oblique and beautiful. Repays repeated listens (and how often can you say that nowadays?) Buy now.
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