[PopTodd]

Sorry this took me so long, Tone! I hope you like what I have to say:

Mr. Lane sent me this album and requested a review. I told him that I would certainly listen to it, with the caveat that, I would give him the unvarnished truth, as I saw, or rather, heard it. He agreed.

Sounds like he had nothing to worry about.

The album reminds me of nothing so much as a more-organic version of the recent Damon Albarn (Blur, Gorillaz) solo material. In fact, at times, Lane’s voice sounds uncannily like that of Albarn. As I am a big fan of pretty much all of Albarn’s projects, this works decidedly in his favor.  Also working in his favor is the fact that he is a cracking tunesmith, with an excellent ear for melody and the ability to create an intriguing lyric.

The album opens with “Crescent,” driven by electronic percussion and acoustic guitar. A flute adds some background color. And the arrangement subtlely builds, with new instruments being gradually added as the song progresses.  A saxophone solo lends a little bit of an RnB influence without pulling the song into actual RnB territory—a little bit like Sting’s early solo material.

The strongest song on the album, however, is the truly engaging “Killing.”
“Killing is my business, and business is good” is one of the more-engaging lyrics that I have heard this year.  From anyone. Set to a noir-ish minor key arrangement that reminds me of Albarn (of course) and also of the cinematic dark pop of Barry Adamson. (If you don’t know Adamson, please look him up. You’ll be glad you did.)

Really, the entire album is filled with dark, cinematic pop that is expertly produced. A truly evocative atmosphere hangs over the whole thing; a bit of a haze that imparts a dreamlike quality to Lane’s excellent songs.

The one knock that I do have against the album is that the strongest song appears on the album FIRST as a remix, and then, later on, in its original mix. I am sorry, but that original mix version, being the strongest song on the album, really should have appeared in the main flow of the album and not all the way at the end, as it does. Put the remix at the end, where it belongs. Of course, that said, the remix isn’t bad at all. It just belongs where it belongs (IMO, of course).

Nonetheless, in 2016—a year filled with some really great music—Look What We’ve Become is an album that really does hold its own amongst all the other great releases of the year. I will be coming back to it regularly, for a long time to come. Bravo, Mr. Lane!!!

[tone]

THANK YOU Todd for spending time listening and putting your thoughts down about my record. I'm genuinely surprised by how much you like it - especially now I've contrasted it to your top 10 album list. Hopefully your review will pique interest enough for some other folks to have a listen

[PopTodd]

I hope so, too. It's a really good album that is worthy of being heard.

[Neil C]

Tone,
I've put a short review on iTunes and Mr Pop Todd, it would be great to out yours up their too..
 
Neil

[Radio]

Just had a listen on the 'Teaser'.

From the clips they all sound fantastic Tone and all very different.

Reminded me of Crowded House, but only a little.

Lovely strong melodic profesional work, and a smooth defined voice.

I feel inspired, and I think I may need to make a purchase.

[PopTodd]

Tone,
I've put a short review on iTunes and Mr Pop Todd, it would be great to out yours up their too..
 
Neil

Yup. I've been meaning to.
And now, it's done.

[tone]

Thanks so much chaps! The iTunes reviews are gold dust, but just knowing a handful of you have listened has made the whole enterprise worthwhile

[Wicked Deeds]

Look What We've Become - album review.

The Crescant

This an an album that has been playing in my car during my commute to and from work.  The songs are very well developed and a number or them quickly sneak under your skin.  The opener, The Crescent' establishes this album as a serious work of songwriting craft.  

I expect the album to follow an acoustic format until track two arrives I acknowledge the smart decision to present the wonderfully macabre 'Killing Is My Buisness' in a slightly different suit of clothes that deviates from the expected acoustic treatment.  'Two wrongs are the rights I'm given before I'm cutting you down'.  This is quite possibly one of my favourite songs at the moment. Returning from work a little past midnight and staring out across The River Tees with the moonlight shimmering on the water surface as I cross the The  Newport Bridge, invites me consider the experiences that people are exposed to and how their experiences, socialisation and life chances may shape personalities and influence acts, at times in the most shocking and destructive ways.  

Under The Bed follows the dark mood established by the aforementioned track.  The intro guitar is beautifully haunting.  To be honest this song packs such an emotional punch that it seems to be loaded with sadness.  Musically it evokes great pain that could move me to tears.  It is both gentle and explosive. I love the melody and the backing vocals are unbelievably good.  

North Of The Woods has been a grower for me.  It's an acoustic driven song with an undercurrent of menace delivered by the overdriven guitar and an element of mystery courtesy of the the piano.  Percussion features on this song and is used to good effect  elsewhere on the album.  I'm struck by how effective an nstrument can be when it cuts through the mix, like the acoustic guitar prior to 'If you see me pulled to the ground call off the dogs'.

'Never Wake Up' is another example of songwriting craft. Once again, I'm drawn to the detail; the backing vocals supporting the main vocal to create a full effect. As the song draws to a close, there's a simple yet delightful guitar section and I believe an accordion makes an appearance which was probably supporting the production at various times throughout the duration.

Opium Fiend  is all about atmosphere.  The clean electric guitar takes centre stage until it intertwines with the beautiful sounding acoustic and minimal piano.  This is a song of contrast.  The plea 'Do You know how I feel' is the penultimate, standout lyric in this song.  I work as a substance Misuse advisor.  Sadly, I see the effects of misuse upon the lives of many and this evokes many thoughts within.  There is real beauty within this song and it embraces the themes of sadness and isolation.  Opium fiend is one of the standout songs on this album. I wonder if this was influenced by the 2012 book of the same name 'Opium Fiend:a 21st century Slave to a 19th Century Addiction'.  

'Look What We've Become' by this time, is in full flow. 'Dignity' arrives with it's sparse arrangement of acoustic guitar and and piano.  It demands your attention. A beautiful, lilting vocal melody against an emotional sparse yet musical soundscape.  I hope I go out with dignity'.  It's beautiful writing that appears steeped in great sadness.  Full marks here!

'Raised by Wolves' kicks in with a strong musical purpose. It's accordion, banjo and pedal steel slide promising to kick of a bar room brawl!

Then there's Laissez Faire.  It's another highlight for me.  The piano is wonderful and the vocal melody equally so.  The introduction of soaring strings creating a wonderful atmosphere of emotion.  The acoustic guitar kicks in and an exquisite instrumental follows.  'I'll never make my fortune. You'd better not complain'.  Put simply, I love this this song. I don't know why but it evokes memories of the romantic film 'Somwhere In Time' featuring Jayne Seymour and Christoper Reeve.

The album is in full swing.  'Take Everything' is playing and I smile.  A song that I once produced and I think has informed the new direction.  A lovely acoustic lead features.  The song still has that 'Wicked Game' vibe that I loved so much.   This is potentially a single from the album. Upbeat and smart writing!

Then there's a reprise of 'Killing Is my Business'. I guess this is closest to the version that Anthony first wrote.  The electric guitar tone is to die for and in my opinion, a standout feature of this song. The middle eight section works so well.  'Business is good'  - if quality songwriting is the goal, then it certainly is for Anthony Lane as the album draws to a close.  I'd highly recommend this album!

Review

Paul Vasey

[Mike67]

This is quality work - I'll be purchasing as soon as I get to my laptop [DONE].  Looking forward to getting to know the song's better.

Mike

[tone]

Blimey, thanks Paul! Very kind of you to take time out to write such a thorough song-by-song review of my record. I really appreciate it. And of course, I'm made up that you like it so much.

I've not heard of the opium fiend book - maybe I'll add it to my list. The song was inspired by a real life experience (told in the lyrics) about meeting a young homeless lad and taking him in for a short time, and trying to offer support over a number of years. You've heard the song, so you know it's a tragic ending. The title comes from the world of victorian novels probably. I also think the word fiend is loaded and pertinent, and perfectly describes the culture of blame and demonisation that comes with addiction, and how people mainly don't want to take the time to see the person behind the addiction or the circumstances that led to it.

The middle eight of the killing is my business reprise is probably my favourite part of the record - the way the piano joins in on the repeat is a perfect fit, and was a lovely surprise the first time I heard it.

Really pleased you like laissez faire so much too - I don't know that film, but I'll be sure to keep an eye out for it.

Thanks again Paul, it's been thrilling to read this review. Makes me want to make another album!