Redemption’s Son

10 friends, 100 albums: Album 10 (My Dad)

This album here is one I'm very familiar with. My father used to have songs from this record in various CD mixes he would create, and therefore exposing me to this kind of adult contemporary/alternative/singer-songwriter music at an early age. Other similar artists I fell in love with were Gavin Degraw and Howie Day to name a few. Though I associate Arthur's music with the artists I just mentioned, this project is significantly darker and religious themes are very prevalent in the music presented. Themes of self discovery, self doubt, and overcoming struggles are explored throughout the 16 tracks here.

This album's sound is a melting pot of contemporary alternative rock (Radiohead), trip hop (Portishead), and folk rock and southern rock (My Morning Jacket). Arthur's voice is also quite unique. It flutters between a soft lilt, and a raspy moan. Think J. Mascis with more personality. The styles come together in a pretty cohesive way, where acoustic guitar and electronics collide in tasteful sonic palettes in songs like the title track and "Honey and The Moon". Other songs are more stripped back but use subtle musical embellishments to paint a picture and supplement the lyrics, on tracks like "Termite Song" and "You are the Dark". The overall feel of this record is pretty heavy, and the dark atmosphere that surrounds the music here is hard to shake. Even on the more delicate tracks or even the odd upbeat songs.

The title track is what kicks off the record, and it's mysterious and ominous lyrics seem to portray a father and song who had a troubled relationship due to the father's actions, and the father commits suicide leaving the son with a weight of guilt and confused emotions. Due to Arthur's religious angles the song also adds in the complex feelings of forgiveness and redemption despite the apathetic attitude the son has for his father's fate. The instrumental to accompany this track is wonderful also, satisfyingly dark and layered, with echoey harmonies and a stark presentation. Harrowing is a word I would readily use to describe this track.

The next single "Honey and the Moon" is a love song in contrast, but one of a protagonist who is afraid of giving himself to a relationship despite the obvious connection they share. Self Sabotage is hinted at, and he wonders if would ever be able to follow her to her "shores of Freedom". It's blissful in sound, with whispery vocals and soaring choruses. The use of acoustic and electric guitars in tandem creates a unique sound that fits this song to a T. All of the poetic imagery comes together in what is probably the best song on this album for sure.

Now full disclosure I am reviewing the official US release of this album which has a different track listing compared to the UK version (the version that is also on all streaming services too) as it is the one I am familiar with and have listened to the most. Therefore, track 3 is "Dear Lord". An upbeat harmonica-led folk number about a struggling faith when Arthur is faced with the consequences of his actions. Despite the peppy sound of the track I find the lyrics to be quite depressing, and fitting for the album so far. It's got a good singalong-type refrain and is a nice brisk change in pace before the next track. "I Would Rather Hide" is a mysterious and trippy song, seemingly about an individual who escapes within himself to avoid the challenges of the outside world. The down-tuned guitar leads and synths really accentuate the moods.

Innocent world is a delicate and dreamy piece of music with a hushed falsetto amid an acoustic arrangement. It's a bit sad to the ears and feelings of hopelessness and dejection are felt in the words. It's nice when it's on but largely forgettable in my opinion. "September Baby" is a bit more lively with a lush instrumental and a song about not giving up on love despite hardship. Using the imagery of summer turning to fall to help paint the picture. These two softer songs are then broken up by the heaviest track; and most political, "Nation of Slaves". Criticizing society as a bunch of people who are aware they are stuck in a machine but do nothing about it unless someone else does it first. Distorted guitars and droning vocals help create a rather oppressive atmosphere in a song that already feels that way. A serious highlight for me. "Evidence" follows this up with another upbeat and dark song but instead of distortion it uses synths and strings to make a song that is rather trip hop inspired than rock inspired. Very reminiscent of Portishead like I mentioned before. "Let's Embrace" is probably the most carefree sounding song here, with lyrics about sharing love and faith with another person. It's a fine tune but it's also pretty goofy and in this track list it feels very out of place, especially considering the past couple tracks.

This next portion of the album is a bit more low-key and patience testing I've discovered upon revisiting it. "Termite Song" is a sullen 9 minute long track with a fascinating instrumental, but pretty much sucks the momentum right out of the album and makes for a rather sleepy mid point. "Favorite Girl" and "Permission" Don't do much to help this either, despite the rather loud and abrasive choruses on the latter song. This part of the album is rather hit or miss for me which is a shame, because I think the very last part of the album is pretty good.

"You are the Dark" is a troubled ballad about medication and drugs in order to function, and this is juxtaposed by the acoustic rock banger that is "In the Night". A fast paced anthemic single with sweeping strings and snappy drums that is definitely a welcome sight for sore eyes after the slower tracks of before. "Blue Lips" is another dreary song lyrically with a pretty good melody and vivid pictures in Arthur's writing. The final track is a slower song, but a decent sendoff as "You've Been Loved" feels like a gentle kiss on the forehead as we are tucked into bed after reading a horror story about Jesus being chased by demons.

So yeah, overall I am pretty fascinated with this record and it's themes. I think it has plenty of really cool ideas and the instrumentals are creative and so multifaceted that you could hear something new each time. This record's problem is that the track list is bloated and hits a brick wall in the middle that creates a sonic pit that is hard to get out of, and the steam is lost until the very end where it manages to spark something for just a few more tracks. If it was shorter or just even trimmed down a tiny bit I would probably like it better. Still, I'm glad I've been able to revisit this for this project and I have a new appreciation for the songs here. I would recommend it for those who are looking for a relatively underappreciated songsmith from 20 years ago who made some really interesting music.

"I wish I could follow you
To the shores, of freedom, where no one lives
"~