Oval Opus' new, self-titled album features a range of music, from gritty rock to heartfelt ballads.
The band members said they found their voice, but they have only further obscured the direction in which they are trying to drive their music. Oval Opus begins sounding like an '80s album with the song Radio Tower.
Lead singer Aaron Patrick's voice strongly resembles that of Gavin DeGraw, with its large range, later infusing the intricacy of Billy Joel's harmonies. The other band members are strong backers, with guitarist Josh Edmondson showing great competency, drummer Dan Edmondson providing the usual backbeats - but no chance to show his skill. Radio Tower also brings a hint of Blues Traveler, as Patrick brings out his harmonica for the only instrumental in the whole album.
Overall, the album is disconnected and uncontrolled. Only a couple of songs stand out in the whole album, whereas Opus' previous album Red Sky Recovery was a symphony of intertwined melodies and beautiful harmonies. It would have been hard to top Red Sky Recovery
and this album certainly falls short. The middle of the album is almost annoyingly repetitive, especially in Sunday Paper.
The album begins to redeem itself toward the end, with Anchorman which leans towards a Bruce Springsteen and the E Street Band influence. The band proves capable of showcasing its talent, but only for a few glimmering songs. I'm Sorry makes me sorry there are not more songs like it on the album. The brightness quickly fades as the band tests a funk sound in First Kids Names. They try to throw in a classical touch with the horn section in Beautiful One and the extremely off-track full orchestra in Sweet Girl.
These extras just confuse the listener more as to what voice the band has found. Oval Opus should stick to the music they obviously mastered in Red Sky Recovery and focus on inserting more instrumentals. They have a way to go before they come full circle ... er ... oval.
17
Archives
Susan Tebben
