Alluvium (Bella Union)
C (Christopher) Duncan has again crafted another excellent work in new album Alluvium. While he does cover familiar ground, he branches out and blossoms, gifting us some of his most beautiful songs to date. Like his first two albums, he recorded and produced Alluvium (his fourth) at home, and reaches new heights with this lush kaleidoscope blend of electronic, dream and chamber-ish pop that signals endings and new beginnings. And of course, Duncan’s ethereal layers of gentle vocals.
His classical training is heard throughout but most specifically in four compositions. On Bell Toll, Duncan sings as if a troubadour, and demonstrates lovely piano chords from another time. John Barry is echoed in the mysterious synth-harpsichord intro of the baroque title track; both aforementioned songs have bursts of Brian May-ish riffs that seem out of place at first but do fit.
Spooky instrumental Lullaby precedes Torso, a tale of obsessive love, showcasing fluid Romanza guitar, and The Wedding Song (a quietly graceful toast) and the hymn-like Upon The Table, too, are sublime works about selfless love and giving with more exquisite acoustic playing.
words RHONDA LEE REALI
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