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▀█████▓▌ MTD Proudly Presents ▐▓█████▀
[Info]
Artist : Sean Rowe
Album : The Salesman And The Shark
Label : ANTI Records
Genre : Rock
Street Date : 2013-08-28
Quality : 242 kbps / 44.1kHz / Joint Stereo
Encoder : Lame 3.98.4 -V0
Size : 89.82 MB
Time : 49:03 min
Url : http://www.amazon.com/The-Salesman-Shark-Sean-Rowe/dp/B008C40
1YG/
[Tracks]
1. Bring Back The Night 4:02
2. Flying 4:42
3. The Lonely Maze 3:04
4. Joe's Cult 3:00
5. Signs 4:30
6. The Wall 4:25
7. The Ballad Of Buttermilk Falls 4:29
8. Horses 4:36
9. Old Shoes 5:10
10. Downwind 4:14
11. Thunderbird 3:24
12. Long Way Home 3:27
[Notes]
Singer and songwriter Sean Rowe is possessed of a truly singular voice. On
Magic, his Anti debut in 2011, it seemed to rumble straight up from the
depths of the earth to shake the listener's ground. Though the stark guitar
and voice production were a bit rigid, Rowe's songs, even when a tad clumsy,
carried within them a singular vision of the natural world and an
experiential poetry that was easily communicated to listeners through that
powerful voice. The Salesman and the Shark stands in contrast to its
predecessor. Produced by Woody Jackson, Rowe is backed by a band on most
tracks, as well as various backing singers (who include Petra Haden and
Isobel Campbell), and an occasional string section (Octetto Magnifico). The
supporting cast is warranted; Rowe's grown immensely as a writer. His
melodies are tighter, his lyrics and cadences sharper. Likewise, that voice,
which seemed already perfect, is even more disciplined and expressive.
Opener "Bring Back the Night" is a waltz ushered in by a halting electric
guitar, a skeletal piano, and a simple bassline. Rowe gets through the first
verse about broken love then delivers the killer couplet the tune turns on:
"The jungle has built its own plans/And I was born obsolete, though I'm not
an innocent man...." His voice digs inside those words as if they were from
his marrow. A backing chorus joins him, sliding in from the margins and
carrying it to the heavens as a prayer. On "Elsewhere," the band shimmers in
the backdrop; they give his vocals free rein on top, bringing the tune's
simple melody and weighty lyrics to the listener like a shot. Inara George
duets on "The Wall," introduced by the strings with restrained dissonance.
They create a sense off quiet drama before Rowe calms them as he begins to
relate a broken love song; George plaintively answers him from the other
side of the divide. "Horses" is one of two rock songs here with its driving
organic percussion, hyperactive strings, and kinetic acoustic guitars. The
other is "Downwind," which successfully employs surf music to further its
ends. In terms of production there are a few songs here that rely too much
on Tom Waits ("Joe's Cult") and Leonard Cohen ("The Lonely Maze"). That
said, they don't feel like missteps because Rowe actually possesses the
chops to deliver the songs, which are strong regardless. The Salesman and
the Shark is head and shoulders above the work of most of Rowe's peers, and
he possesses a strong identity as a songwriter, even if he doesn't feel
confident completely relying on it yet.