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Lazarus, "Songs For an Unborn Sun"
Temporary Residence Ltd.
At the very least, the sound of Lazarus's lazy drawl and deliveryindicates someone who just woke up in the morning, if not actuallyrising from the dead. Guitars are plucked deliberately, syllables areenunciated slowly, and the music proceeds ploddingly. Sometimes it is arace between Montgomery's drawl and his guitar to see which can proceedmore slowly. Often they are neck and neck, two tortoises fumblingtowards a far-off finish line. The scratchiness of the vocals screamsfor a glass of water to dispel those early morning frogs in the throat.And on the fringes of the music are little electronic twiddlings which,at first, are more decorative than substantive but which eventuallycome to define the album. Lazarus is Trevor Montgomery, who has playedwith Tarentel and The Drift; this is his first solo album where heexplores some quiet acoustic compositions. The most unsettling (andfascinating) part of Lazarus's music is the ghostly background vocalswhich pop up in many songs. The background voice is a few octaveshigher than Montgomery's main voice, so it is hard to discern if it isthe same person singing them. But the background voice is alsochillingly more scratchy, unsteady, and frail. My impression was thatthere was a background banshee, rather than a human, singing. The firsthalf of the album maintains a monotony which is only broken by "Ocean(Burn the Highways)," a song which picks of the lagging pace and fillsin the space with some fine guitar plucking and a lively organ duringthe chorus. It also has the most unsettling instance of the backgroundbanshee vocals, where her voice threatens either to decomposealtogether or send us shivering to bed, curled up and frightened (thinkof the difference between Winona Ryder's characters in "EdwardScissorhands:" her young character in the film sounds normal, whereasher character as aged narrator has a geriatric, frail voice which stillmakes my hair bristle when I hear it). But the monotony persists in theother seven or so songs at the beginning of the album as they flowseamlessly into one another, not really making a name for themselves.Ironically, by the time the lovely short instrumental "(untitled)"comes about, Lazarus adds some interesting electronics to the limpingacoustics to spruce up the sound. The highlight of this is heard at theend of "Obviust" when vocals are overtaken by the more compellingelectronic frequency noodling. The last four songs are the mostcaptivating of the album, forecasting a darkness and a vision so bleakthat another resurrection might be in order.
At the very least, the sound of Lazarus's lazy drawl and deliveryindicates someone who just woke up in the morning, if not actuallyrising from the dead. Guitars are plucked deliberately, syllables areenunciated slowly, and the music proceeds ploddingly. Sometimes it is arace between Montgomery's drawl and his guitar to see which can proceedmore slowly. Often they are neck and neck, two tortoises fumblingtowards a far-off finish line. The scratchiness of the vocals screamsfor a glass of water to dispel those early morning frogs in the throat.And on the fringes of the music are little electronic twiddlings which,at first, are more decorative than substantive but which eventuallycome to define the album. Lazarus is Trevor Montgomery, who has playedwith Tarentel and The Drift; this is his first solo album where heexplores some quiet acoustic compositions. The most unsettling (andfascinating) part of Lazarus's music is the ghostly background vocalswhich pop up in many songs. The background voice is a few octaveshigher than Montgomery's main voice, so it is hard to discern if it isthe same person singing them. But the background voice is alsochillingly more scratchy, unsteady, and frail. My impression was thatthere was a background banshee, rather than a human, singing. The firsthalf of the album maintains a monotony which is only broken by "Ocean(Burn the Highways)," a song which picks of the lagging pace and fillsin the space with some fine guitar plucking and a lively organ duringthe chorus. It also has the most unsettling instance of the backgroundbanshee vocals, where her voice threatens either to decomposealtogether or send us shivering to bed, curled up and frightened (thinkof the difference between Winona Ryder's characters in "EdwardScissorhands:" her young character in the film sounds normal, whereasher character as aged narrator has a geriatric, frail voice which stillmakes my hair bristle when I hear it). But the monotony persists in theother seven or so songs at the beginning of the album as they flowseamlessly into one another, not really making a name for themselves.Ironically, by the time the lovely short instrumental "(untitled)"comes about, Lazarus adds some interesting electronics to the limpingacoustics to spruce up the sound. The highlight of this is heard at theend of "Obviust" when vocals are overtaken by the more compellingelectronic frequency noodling. The last four songs are the mostcaptivating of the album, forecasting a darkness and a vision so bleakthat another resurrection might be in order.
