One track here, “Mystical World,” has been available for a few years, released as a single to streaming services in 2019. The opening sax and catchy 80’s guitar melody suggests a vibe similar to The Cars, except Daugherty’s gorgeous vocal stands completely on its own. The smart lyric follows a theme often present in The Choir’s work, tying the earthly romance of attraction to some sense of the supernatural, a spiritual connection. “Hurricane” opens the album reflecting on the many things in life that are beyond our control, and we cling to security in the relative safety of the eye, while musically the song devolves into one of Daugherty’s floating ambient guitar effected moments. It’s followed by the true torrential rocker, “The Wood,” with an aggressive guitar attack and a gripping sax solo is a welcome return to an intensity reminiscent of the band’s great, underrated ’93 release, “Kissers & Killers.”
While Bloodshot dealt with heavier, darker themes, Deep Cuts may address the healing of old wounds, but it’s an altogether more up-tempo effort that rocks with intentionality and purpose. Even “Aces Over Eights,” which deals with the “ashes to ashes and dust to dust” that awaits us all, it’s delivered with a pop energy and positivity. Michael’s sax additions are subtly present, used as smart accents in the most tasteful and engaging ways, while Hindalong’s smart rhythms set the pace in a way that pushes the energy in a distinct forward motion in “Trouble” and “Feel You Close.” And the guitar solos from Daugherty on “Feel You Close” and “Sunshine Girl,” and elsewhere reverberate with an energy that has been less obvious.
Like the Psychedelic Furs album last year, The Choir has delivered a collection of new songs that draw on previously established strengths, which managed to touch on familiar musical textures while creating something vital, current and that breaks new ground.
Brian Q. Newcomb
For more of Brian Q. Newcomb’s music reviews, check out The Fire Note
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