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The Black Heart Procession, "Amore del Tropico"
Touch and Go
Black Heart Procession's fourth album marks a divergence away from the band's convention to number each album consecutively, so it should not surprise anyone that the sound of the band has also undergone a change. Within the first few minutes of the album, there are unprecedented female backing vocals which persist throughout the record and end up feeling like more of an indulgence than an affectation. "Amore del Tropico" is supposedly an overture to a murder mystery. Like anyone who has seen the band's live shows, which are robust with masks, disguises, and theatrical distance, I was at first skeptical about the sincerity of this project as a true murder mystery. After hearing "Tropics of Love," the first full-fledged song after a brief opening number, my skepticism disappeared. The song begins with a snazzy up-tempo beat to which you could snap your fingers, and you begin to wonder if they are scoring some lost Raymond Chandler novel, as this song could easily fit into the opening titles sequence. Interestingly, there is an 'Amore del Tropico' DVD forthcoming which will flesh out the narrative of this tropical murder mystery, with each song from the album creating a new chapter. It will be interesting to see if this project ever materializes. From what we have at hand now, I don't think I could tell you who was killed, where it occurred, or what the murder weapon was, let alone solve the crime. Perhaps my bumbling sleuthing is due to the fact that I find it hard to get drawn into this album like the previous Black Heart Procession records. I found myself distracted while listening to the album, trying to piece together the underlying mystery, but disgruntled knowing that I was never very good at solving even the most rudimentary Encyclopedia Brown case. The one time I was fully aware of the album's concept was in "Fingerprints," when singer Pall Jenkins repeats, "They found my fingerprints," amidst a wailing violin which is reminiscent of the fiddle from Bob Dylan's 'Desire' album. While adopting the mood of the murder mystery, the Black Heart Procession have forsaken their signature mood of old, which was grave, dense and swirling. Despite the macabre subject, the newly forged mood seems light and comical. "A Cry for Love" would be a song of the old Black Heart mood, were it not for the punctuating female backing vocals, which sound like they were culled from Isaac Hayes's "Theme from Shaft." The finale, "The One Who Disappeared," returns reluctantly to the older Black Heart sound, and it is comforting to know that, now that the murder mystery has dwindled down to its final clues, and all the leads and hunches have been followed to their end, the band at last can retrace its footsteps back to where they began and start again from where they left off.
Black Heart Procession's fourth album marks a divergence away from the band's convention to number each album consecutively, so it should not surprise anyone that the sound of the band has also undergone a change. Within the first few minutes of the album, there are unprecedented female backing vocals which persist throughout the record and end up feeling like more of an indulgence than an affectation. "Amore del Tropico" is supposedly an overture to a murder mystery. Like anyone who has seen the band's live shows, which are robust with masks, disguises, and theatrical distance, I was at first skeptical about the sincerity of this project as a true murder mystery. After hearing "Tropics of Love," the first full-fledged song after a brief opening number, my skepticism disappeared. The song begins with a snazzy up-tempo beat to which you could snap your fingers, and you begin to wonder if they are scoring some lost Raymond Chandler novel, as this song could easily fit into the opening titles sequence. Interestingly, there is an 'Amore del Tropico' DVD forthcoming which will flesh out the narrative of this tropical murder mystery, with each song from the album creating a new chapter. It will be interesting to see if this project ever materializes. From what we have at hand now, I don't think I could tell you who was killed, where it occurred, or what the murder weapon was, let alone solve the crime. Perhaps my bumbling sleuthing is due to the fact that I find it hard to get drawn into this album like the previous Black Heart Procession records. I found myself distracted while listening to the album, trying to piece together the underlying mystery, but disgruntled knowing that I was never very good at solving even the most rudimentary Encyclopedia Brown case. The one time I was fully aware of the album's concept was in "Fingerprints," when singer Pall Jenkins repeats, "They found my fingerprints," amidst a wailing violin which is reminiscent of the fiddle from Bob Dylan's 'Desire' album. While adopting the mood of the murder mystery, the Black Heart Procession have forsaken their signature mood of old, which was grave, dense and swirling. Despite the macabre subject, the newly forged mood seems light and comical. "A Cry for Love" would be a song of the old Black Heart mood, were it not for the punctuating female backing vocals, which sound like they were culled from Isaac Hayes's "Theme from Shaft." The finale, "The One Who Disappeared," returns reluctantly to the older Black Heart sound, and it is comforting to know that, now that the murder mystery has dwindled down to its final clues, and all the leads and hunches have been followed to their end, the band at last can retrace its footsteps back to where they began and start again from where they left off.
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