9 [Explicit Lyrics] - Damien Rice Album Review

9 [Explicit Lyrics] - Damien Rice Album Review

 

Album Review

Already, the question has to be asked. Is Damien Rice a one-trick pony? The answer is an emphatic - Yes. But what a trick. His penchant pained approach continues on what can only be considered 'O' part two. Damien Rice doesn't do poppy radio friendly tunes. Damien Rice doesn't do loud music very well. He doesn't do grand album titles either. What he does do, (and this is the trick) is intimate, powerfully emotive music that, eventually, gets under your skin. It's not instant, but everything is targeted to you, not at you - there's big difference: few manage it.

Proof was his stunning slow-burner from 2002, which became a huge hit primarily through word of mouth. So, writing 'difficult album number two' must have a daunting task. Well maybe not, however there is one serious problem with this album.

There's a dangerous element of predictability coming through. Some might say it's his trademark.

Overall the melancholic template remains the same. This may well be a more instant hit, though it lacks some its predecessor's gems, i.e. The Blowers Daughter, Cannonball, and Volcano.

It's also a brave move to have a guest singer opening your album. It does show supreme confidence though. Rice works best on the quieter end of the decibels. With the gentle tinkling ivories and hushed songbird Lisa Hannigan, 9 Crimes, (the first single out on November 20), is a song verging on total fragility- so fragile it's about to shatter at any moment like the mutual adultery it charts. So tender and beautiful, especially when the swaying violin kicks in, leading a gradual crescendo - a truly stunning start.

Strummed intro of The Animals Were Gone has some magnificent sweeping strings and choral exploits, making it the CDs opus. In a similar vein, Elephant is his most pained offering to date. His wavering falsetto only adds to the drama, punctuated by equally dramatic pauses. Rootless Tree (explicit lyrics) begins as an acoustic plodder, eventually turning into incredible sonic blasts by repeated chorus. Things calm down for Dogs, with his lightweight guitar supported by sublime strings and catchy hooks. Back with frenetic strumming, Coconut Skins could be confused for David Gray: it's the most stripped back song here. Least effective is the brooding heaviness of Me, My Yoke And I - a totally cacophonous waster. Back at his most comfortable territory, simple Grey Room is most welcome, though it's not a strong song by any means, again sounding like Gray. Accidental Babies is as serene as Rice can be - a hushed vocal backed by haunting piano becomes a stunning pre-closer.

Peculiar endings don't come more bizarre than the 20 minutes worth of Sleep Don't Weep, where (pointlessly) he only gives us about 5 minutes of a song, with the remaining 15 barely audible as is slides to a gradual end. Hannigan adds more stirring backups and a duet, leaving us in no doubt that Rice still has lot more in his cannon.

Damien Rice's cave is very deep and dark, but he does let some sunshine in, occasionally.

Week commencing 13 November, it entered at no.4 in the UK album charts.

Elly Roberts

You may be interested in

Adverts - Advertise here

© 2001 - 2008 AllGigs Ltd. All Rights Reserved. Use of this site is subject to our Terms and Conditions.

Site Meter