Coming off a stint opening for Depeche Mode, Wesley is even more committed to the 80s-styled synth wave grooves, though his haunting baritone allows the project to retain its sense of dark wave. "Shadow Dance" stays on a darker path, as it coasts on a neon-laced synth bass line through the dark alleys of Hollywood. Vocally his cold croon works well here. He becomes even more submersed in the 80's fixation with "Blackberries". Lyrically he is playing off every dark wave cliche when it comes to being dramatic about relationships. but overall, things flow together enough to deliver.
"Hourglass' gives a lighter emotional shade than the first three songs that overtly lay on the darkness. Which works for, me but it also makes me more willing when he switches things up mood-wise with this one. The vocal melody feels more like something a band like Modern English might do. Rather than attempt to go in a more pop direction with it, the song drones off a variation of the same melodic themes. The first song that strikes me as the song I would want on my "goth nite' DJ set from this album is "Siren Song". It pulses with the kind of intensity you need to get the Vampira's twerking. He dialed in the production of his vocals perfectly here.
The new wave radio nuance slips back into "Everlasting". His croon almost has more of an Ian Curtis feel here, though retaining enough of his personality to keep them from sliding into the post-punk revivalist hordes. Finally, a guitar riff plays a larger role in a song for "Holy Road" with Amy Lee's vocals coming to the forefront. Dark-driving synths take control of the last song. It is done in a way that has a heavier feel. His vocals drop down into a starker take on his baritone. I will give this one a 9.5, meaning it is better than most of the dark wave coming out these days but is not as iconic as "Cheris the Light Years ". It will keep fans coming back for more.
No comments:
Post a Comment