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Antony and the Johnsons, "The Lake"
Secretly Canadian
This brief, three-song EP is being released as a spacer to tide fansover until the new Antony and the Johnsons full-length album I Am A Bird Nowis released February of next year. New material from NYC's premieretorch-song singing androgyne is long overdue, the artist not havingreleased any new material since 2002's I Fell In Love With A Dead BoyEP, and no full-length since his superlative 1999 debut on Durtro. Inthese intervening years, Antony's cult of adoration has grownconsiderably, with established NYC artists Lou Reed and his wife LaurieAnderson promoting the artist, playing a number of shows together.Antony has made guest vocal appearances on two of Lou Reed's recentalbums, and he contributes vocals to campy queer troubadour RufusWainwright's most recent album Want Two. It seems that success has agreed with Antony, as the songs and lyrics on The Lakeevidence a decidedly more positive outlook than the depressing songsuite of his first album. According to Antony, "The Horror Has Gone,""That terror was not fright/but a tremulous delight," and "I feel thatheat/And I know it's love." There are no more rivers of sorrow orHitlers in his heart, I suppose. Even despite my usual preference formelancholy, The Lake EP is a terrific little taster, all threesongs showcasing the singer/songwriter/arranger at the very height ofhis craft. The title track will be recognizable to those who have heardthe Current 93/Antony split Live at St. Olave's Church EP, a moving adaptation of Edgar Allan Poe's mysterious lyric poem. I'm not sure if it's a coincidence that Lou Reed's The Raven,a dire concept album about the decadent author, coincided with Antony'sfascination with Poe, but either way it's a beautiful song, though Iprefer slightly the simpler arrangement and vocal style of the earlierlive recording. "Fistful of Love" is the EP's centerpiece: an upbeat,jazzy number about the fear of admitting you're in love in someone. LouReed does a guest vocal spot on the EP, contributing some terse spokenlyrics and electric guitar. It's one of Antony's busiest arrangements,with a full brass section and a distinct rock vibe, but he pulls it offbrilliantly. The final track is the brief, delicate "The Horror HasGone," in which Antony celebrates the passing of a deep depression,playing the piano, accompanied by Julia Kent's beautiful cello. I'vebeen enjoying this EP thoroughly, and it affirms what many peoplealready know: Antony's voice is one of the most amazingly expressiveinstruments around. Those who don't get it, never will; those who loveit, will always come back for more.
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