“Overture” might sound just like a clever opening slice of incidental music, but as it introduces and blends various sounds from classical piano to big guitars, the delicate to the decisive, the cinematic to the anthemic, it acts as an indication of the big and bold, rich and rewarding sound to follow.
Starting with “Dreamland,” a rootsy rocker at heart but flowing with filmic sonics and lush creativity, one foot on the monitor, the other striding into ornate soundscapes, this first song proper sets the tone perfectly, for even when Church Burglars fully embrace a big rock sound, such as on “Invisible Man,” they mix it with swirls of sensational sound, a soundscape writ not just large, but detailed and ornate too. By the time a wave of Mariachi brass cuts through, you realise that there is more going on in this one song than many bands capture on whole albums. And never at the expense of one instrument or idea stepping on anyone else’s toes. A place for everything and everything in its place…as the saying goes.
“King of Lies” moves from hushed, understated soundscaping to kick ass rock and roll in short order, “Home” is the sort of acoustic balladry that feels like the Laurel Canyon sound being brought bang up to date, and “Face of God” is an infectious, interesting, and intriguing way to round things off.
Rock music is often big, sometimes clever, but rarely able to be so successful at both aspects as it is here.
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Love it! Thanks for giving it a listen!