Dear Head on the Wall - Alejandro Escovedo, Christoff, Kim
Notes on Air - Alejandro Escovedo, Allen, Bukka
Looking for Love
The Ladder
Break This Time
Evita's Lullaby
Sacramento & Polk
Died a Little Today
Take Your Place - Alejandro Escovedo, Andes, Mark
The Boxing Mirror
One True Love
Alejandro Agonistes may yet have a happy ending, but you wouldn't guess it from this torrent of surrealism and gothic textures. Escovedo's first album since nearly succumbing to hepatitis C and crushing debt in 2003 is the... more » darkest, most mysterious album of his career--a harrowing, poetic soundscape partly the result of producer John Cale's industrial-noir sensibilities, but also Escovedo's own avant-garde punk roots. The difficult trilogy which opens the album moves from arid Arizona (a wasteland where the soul finds nary a drop to drink) to a conversation with a "dear head on the wall" that becomes a negative Zen poem ("The sadness will come / When there is no one") to a cryptic vision of a buck trampling a wandering doe. Writing with his wife, poet Kim Christoff, as well as Chris Stamey and guitarist Jon Dee Graham, Escovedo isn't just confronting his own mortality and the mistakes which plunged him into a nightmare. He's courting a danse macabre for the sounds and poetry he finds there. On "Sacramento and Polk" he surveys a bohemian hell through a "Thorazine haze," while the Princely groove of "Take Your Place" only seems like a discordant funk party until the lyrics sink in: "I'm going down, down, down / There's nothing here." Escovedo's voice has weathered the physical ravages, caressing all the Mexican nuances out of the synth- and cello-sweetened "Evita's Lullaby" and breaking beautifully on the country ballad "Died a Little Today," which, like each of these emotionally concentrated tracks, is as literal as it is elusive. --Roy Kasten« less
Alejandro Agonistes may yet have a happy ending, but you wouldn't guess it from this torrent of surrealism and gothic textures. Escovedo's first album since nearly succumbing to hepatitis C and crushing debt in 2003 is the darkest, most mysterious album of his career--a harrowing, poetic soundscape partly the result of producer John Cale's industrial-noir sensibilities, but also Escovedo's own avant-garde punk roots. The difficult trilogy which opens the album moves from arid Arizona (a wasteland where the soul finds nary a drop to drink) to a conversation with a "dear head on the wall" that becomes a negative Zen poem ("The sadness will come / When there is no one") to a cryptic vision of a buck trampling a wandering doe. Writing with his wife, poet Kim Christoff, as well as Chris Stamey and guitarist Jon Dee Graham, Escovedo isn't just confronting his own mortality and the mistakes which plunged him into a nightmare. He's courting a danse macabre for the sounds and poetry he finds there. On "Sacramento and Polk" he surveys a bohemian hell through a "Thorazine haze," while the Princely groove of "Take Your Place" only seems like a discordant funk party until the lyrics sink in: "I'm going down, down, down / There's nothing here." Escovedo's voice has weathered the physical ravages, caressing all the Mexican nuances out of the synth- and cello-sweetened "Evita's Lullaby" and breaking beautifully on the country ballad "Died a Little Today," which, like each of these emotionally concentrated tracks, is as literal as it is elusive. --Roy Kasten
"Whether you'll enjoy this album really depends on how much of Al's previous work you're familiar with. I say this because if you're expecting Man Under The Influence Pt.II you will be disappointed. It's clear that Escovedo is no longer content making rote "alt-country" records, and has decided to expand his sound. This will inevitably lead to above-average reviews from newcomers who weren't on board for any of the past half-dozen albums, but might leave established fans a bit disconcerted. Truth is, first time i heard this album in its entirety i was severely nonplussed. Personally, i don't look to Al for avant-garde production theatrics, or overblown triple-tracked string sections. I thought the work he did up until the illness was the best he'd ever done, and i have to give him full credit for coming back and making a statement, i'm just not 100% sure i'm on board for it. He's reaching, and i completely understand why, but the pursnickety sonic experimentations often leave me yearning for a simple song like Rhapsody again. Though to be fair, a lot of these songs sounded better live during his last tour with the "orchestra." Maybe Cale is who i should blame here.
So that's my take: older fans approach with caution, but keep an open mind. You might agree with the current critics who seem to think this is some sort of watershed moment for the man. It certainly is a change.
"
Worth the wait
James Reckling | Roanoke, Va USA | 05/14/2006
(5 out of 5 stars)
"It's been 6 years since "A Man Under The Influence" as Alejandro battled (and still does I am sure) Hepatitis C. The production on this album is different than his others, there is less space and Alejandro's voice is up front. I think it works to the music's benefit as Alejandro's great songs sound terrific. Worth picking up for sure."
Vibrant Rock Hybrid
Lee Armstrong | Winterville, NC United States | 01/20/2007
(5 out of 5 stars)
"Alejandro Escovedo who is related to Sheila E & has been in rock bands Rank & File, the Nuns, & True Believers has produced an excellent CD. Escovedo's "Pyramid of Tears" from his "Gravity" CD remains one of my favorite classic album cuts of all time. On this CD we have a number of excellent tracks. "Break This Time" rocks with roaring electric guitar and strings to great a vibrant rock hybrid, "Whoever told you there'd be no danger, nothing to fear here in this house of pain; So speak to me softly & tell me you love me & we'll join together in the refrain." It's a breathtaking stew that climaxes with the closing bars. "Take Your Place" places a complicated lyric on a driving rock beat, "I'm going down, down, down, even deeper still, 'cause this world has gotten so f***ed up." "One True Love" written with Chris Stamey is a wild rocking track, "I'm all messed up; I got nothing to take your place." The opening cut "Arizona" is a haunting melody that snakes eerily through self-exploration, "I turned my back on me & I faced the face of who I thought I was." Mark Andes who was in the bands Spirit, Jo Jo Gunne & Firefall plays the bass on the set. This is a dark album. Escovedo explores themes of loss, regret and sorrow in an original blend of musical styles. Enjoy!"
Alejandro, brilliant as always......
raecoyote | Austin, Texas | 05/18/2006
(5 out of 5 stars)
"As usual & as I've come to expect, Alejandro's music comes from his heart & soul & this cd gorgeously reflects this in every note. His recent "boxing" with life has been mirrored here in his music with beautiful juxtapositions. Darkly stirring, this cd is laced throughout with all of his influences, punk, rock, & classical (orchestral & strings) with his voice coming over each song clear & strong. Using John Cale (The Velvet Underground) to produce this was the perfect pairing, each musician who plays here gives a stellar performance & the monster bass work of Mark Andes (Spirit, Firefall, Jo Jo Gunne, Heart, etc.)should be noted. Definitely discover Alejandro & this is a great place to start......"
Boxing clever
Stephen Doig | New Zealand | 11/06/2006
(4 out of 5 stars)
"Alejandro Escovedo is a phenomenal talent, one whose musical outpourings feel so deep, so real, and so thrillingly alive that they connect with this particular listener on an almost spiritual level. Whether delivering hard edged, gritty rock songs or elegant acoustic folk-pop, the Austin-based singer-songwriter never ceases to amaze me.
Having survived a near fatal bout of Hepatitis C in 2003, the once hard-living Escovedo was forced to give up the bottle and the smokes, and so it comes as little surprise to find that much of his latest album is about staring down his demons and confronting his own mortality. It may be heavy-going at times, but The Boxing Mirror also achieves staggering levels of depth, beauty and emotional honesty. Remarkable really, given that Escovedo wondered if he'd ever make music again.
On the moody, gripping album opener `Arizona' Escovedo sings like a man possessed, lost in his own thoughts and facing up to a life of sobriety. Right from the outset, it's hugely compelling stuff - complex, weighty and riveting. `Dear Head On The Wall' and `Notes On Air' follow-on in a similar vein and provide two more of the album's highlights. By some margin though, The Boxing Mirror's standout cut is the heartbreaking Evita's Lullaby, which finds Alejandro consoling his mother after the death of his father. A song coloured by deep sorrow, it is almost unbearably beautiful.
As good a record as this is, I'm reluctant to say that it's Escovedo's greatest artistic achievement to date. As far as career highlights go, 2001's masterful A Man Under The Influence will take some beating. The Boxing Mirror though, without a doubt, is his most rocking and intense set of songs to date. Proof positive that Alejandro Escovedo the musician is still well and truly alive and kicking.