Englishman Alan Driscoll used to have been having always something to
say although the song theme do rotate around one and the same –
sex. Of course, he is artist and all the theme is coated with the
curtains and veils to reflect upon the seedy light from behind it.
More profoundly, one can discern drive, expectations, yarns, pain and
pleasure coming from within the 10-notch whole. Its ideological side
is punctuated by Driscoll's compelling singing and storytelling and
the guitars and synths mixed background. It should be added, at times
a female affected loon can be mapped out from songs as a warning
example of how a male can lose himself as the purpose on his own. One
should keep going on instead of dealing with one's regrets. I like
heroes but real heroes are a bit thugs. Western Civilization is a bit
poisoned by having been insinuated the sense of guilt and at the same
time fostering the human being to be an apex predator to survive.
These contradictory, schizoid tendencies do enervate the human race.
Indeed, with regard to his discography Alan Driscoll has kept to a
narrow territory to have an incisive spot on it with purpose to
magnify it to the highest standard. He was born in the beginning of
the 80s so his teenage years were partly amended by Britpop artists
(because one of his self-issued releases was entitled Britpop), I
guess by Jarvis Cocker's voyeuristic and sexually lurking themes, and
by willful maverick Nick Currie aka Momus. All of that makes sense to
me though there are up a couple of stark exceptions like Flirting
on Your Deathbed which mirrors an irreconcilable state of mind by
a dying man backed up by singing manner almost pushed to tears. The
final track Every Little Tree Must Fall is the musically
totally disparate case - it is a darkened, a bit low resolution
ambient venture with speech samples and guitar-based echoes
developing and slowly moving across the space.