Playlouder - Music is the Network

Mark Lanegan has been rather prolific of late, to varying degrees of success. It has only been a few months since the release of the highly anticipated, if slightly disappointing, "Saturnalia" under the guise of The Gutter Twins, recorded alongside Greg Dulli of The Afghan Whigs and less than a year previously, the far superior Soulsavers album "It's not how far you fall, It's the way you land".

The most noticeable metamorphosis in Lanegan has been his lyrical shift, for years he carved out the romanticised image of a charming barfly. One whom could be easily pictured sat alongside Henry Chinaski, or at least working at the same dead end job during the day. Deplorable characters, copious amounts of stimulants and devilish females stalk his early songs, inkeeping with the American literary appreciation of the underworld, of the "could have beens". His work on "Here Comes That Weird Chill" "Whiskey For The Holy Ghost" or "Scraps At Midnight" could all be delved into to uncover such tales. The spirit of Henry Miller and Hubert Selby Jr exist strongly in his writing making him one of the most intriguing characters in an age were songwriter is rapidly becoming a dirty word. 

It was a recent departure from this style that caused some confusion for many fans. Mr. Lanegan's recent output has been largely centralised around an apparently new found spirituality. The Soulsavers album lyrics were almost entirely bestrewn with religious imagery and it was for this same reason, which left the listener a bit cold after the aforementioned Gutter Twins album. 

This could easily be misconstrued as a boorish unwillingness to appreciate whatever new chapters have been opened up in the life of this artist, to unappreciate the boldness in such a step away from the work which made him such a beloved figure to so many. However, there is a point were new persona's, influences and directions can cross the line into self indulgence and complacency. 

Good news all around then, as, reuniting with elfantine ex Belle & Sebastian singer Isobell Campbell, to continue were they left off on 2006's phenomenal "Ballad Of The Broken Seas". Lanegan's gruff croon was soothed beautifully by Campbell's light, breezy vocals, the two complimenting each other magnificently. It would appear that they have managed to do just that, once more.

It is for all our benefit that this renewed partnership has been committed to a recording. Within fifteen seconds of the opening track (Seafaring Song), we are in familiar territory, and all the more comfortable for that. It is familiarity, not only with the intertwining vocals, but with the subject matter. Lanegan is once again conjuring spectacularly detailed narratives, rich and deep in their setting of a barely played guitar and luscious strings. 

When we hear the opening line on "The Raven" "And in the dawning of the day in late September, there came a weeping from outside my chamber door" we are aware that the warming bleak descriptiveness has made a welcome return. The musical styles contained in the record are more varied than on their previous collaboration, with Blues "Gun Shot Blues" and Gospel "Salvation" featuring more heavily on this offering. "Come On Over (Turn Me On)"  is a simply beautiful Soul track. 

Like the previous record, it is not perfect, there are times when your attention will wander, although it will be instantly drawn back once you have realised that you have strayed. This is evident on "Back Burner" which, approaching seven minutes, in the middle of an album were the songs are quite short, sticks out prominently and not altogether the better for it.

Overall, it contains a rare chemistry, one well worth investigating. It would also make an ideal gift for anyone in your life who likes whiskey and waltzing with themselves in the wee small hours of the morning.