Paul Lawler’s debut album ‘Bronx Age’ was described as a “must have” by smd member Andy Garner in his review, so I approached the follow up
with great anticipation.
The opening track certainly doesn’t disappoint. It contains a hugely infectious main theme and a punchy style which constantly draws you in. Track
2 however could almost be from a different album. Spooky effects and desolate piano open the piece, then a jazz section takes over with double-
bass and percussion. Suddenly optimistic symphonics take centre stage. A bustling 60’s feel then gives way to very abstract jazz piano, then back
to the double bass and which brings to mind the soundtrack to a ‘Dirty Harry’ move, except for the whispered religious connotations. This piece is
both brave and challenging and I feel I should praise it accordingly - but ultimately it only has novelty value and I doubt whether I’ll ever want to
revisit this track.
With the next piece it’s all change again, and this is much more like it! Robust sequences introduce sparkling synth melodics and well places
samples, and track 4 charts a careful path through steady paced rhythms and choppy synths which create a pleasing melange of motifs. Track 5
opens with abstract radio effects before a foreboding air sweeps in, accompanied by rainswept reedy themes. Then the track picks up the pace
creating a dramatic and cinematic scene as sequences join the fray in stunning fashion.
With track 6 it’s all change again. The laid back melodics are presented in a more commercial and, for want of a better phrase, straight forward
fashion. This may sound a bit dull but nothing could be further from the truth. This is beguiling EM and possibly the best section so far, with
infectious themes imparting real emotion. Again Paul picks up the pace in the mid stages, and it all works superbly. Track 7 opens confidently with
more choice themes then kicks into a robust rhythm which again gets under your skin after a few listens. Piano lines then add to the mixture,
followed by sequencer bursts and guitar leads, and we have another excellent piece. It’s testament to Paul’s craft that this track didn’t stand out
until I’d heard it a few times, then suddenly it’s another choice outing.
The next piece explores the abstract end of the scale with spoken samples and doom laden effects with tribal drumming. Again it could easily be
soundtrack territory, an area which Paul could tackle with ease on this form. Track 9 has another jazz/funk feel to it, and is mastered with some
aplomb with more enticing keyboard and guitar refrains. Track 10 is in the same sort of territory really, while the next track sets the compass
spinning again with ambient nature effects and pan pipe synths creating an innocent air. The final piece features a marvellous piano sequence and
is another polished performance.
It’s testament to the depth and complexity of this album that this is the longest review I’ve written for a while - but it was the only way to attempt to
capture the different styles covered here. I’ve got a feeling many of the tracks are serious growers, though I’m sure others (especially one or two of
the esoteric jazz excursions) will remain anonymous to me. At times I felt the album indulged itself a little too far, especially when contrasted with
the less challenging outings which I often found more effective, however there’s talent here by the bucket full and my admiration grows with each
listen. (GG)
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