Search - Color Theory :: Perfect Tears

Intelligent music with feeling

D. Harper | Orange County, California | 08/05/2001

(5 out of 5 stars)

"I was introduced to Color Theory about six years ago. Since that time, I have kept close tabs on the music of Color Theory. I have always been impressed by the nature of the lyrics. The albums opt to delve into more complex issues than standard pop and do so with eloquent simplicity. The music exudes a great depth of feeling, while still being precise and smartly orchestrated. (I find that frequently, when artists create a deeply meaningful or passionate song, the precision, integrity, and compositional aspects of the music suffer. Color Theory balances a passionate feeling with high musical standards.) And the music is very well composed, produced, and engineered. Color Theory blends strong melodies, full harmonies, sophisticated musical ideas, and solid instrumentation along with pensive and meaningful lyrics to create excellent music."

Perfect Tears...perfect!

D. Harper | 10/15/1999

(5 out of 5 stars)

"Brian Hazard (the sole member of Color Theory) has never completely fit into the synthpop category. While he has used synths in a number of his songs, they always leaned more towards the piano, and also seemed far more personal and emotional than other typical synthpop bands. With his latest release, Perfect Tears, he has stayed true to his style but has ventured further into the land of synthesizers. The twelve songs on Perfect Tears come closer than ever to the perfect fusion of piano and synthesizers, creating an emotional album that's sure to captivate your heart. The album starts out upbeat with two songs that were previously available on compilation discs: "Stare Out The Window" and "April's Bonfire." "Stare..." is quite possibly the song that fits into synthpop best; it contains some amazing instrumentation and lots of different sounds (including some guitar) that are hiding in the mix. The song, produced by Tinmen's Keith Gillard, is one that never fails to amaze me. I'm constantly finding things in that I never noticed before. "April's Bonfire" is quite similar, an upbeat tune with some great synthwork, and for the first time (that I remember), Brian can be heard singing through a vocoder. Both of the songs are now in rotation in European radio. Things slow down a bit for "New Years Eve," a melancholy-yet-uplifting look back on the events of 1998 (and it was coincidentally composed on, yes, New Years Eve), then comes the next song with 'hit' written all over it, "Long Distance Martyr." Wonderful piano work, catchy drums and uplifting synths that grab you tight and drag you into the chorus make this one very high on my list. "Now I Know" is a beautiful ballad, piano only, about trying to move on only to realize you're still caught up in that person. Perfect Tears finishes up with several more songs, all more of the great formula that Brian's music has followed all along. "Ordinary And Free" tackles the question of identity in a society that pressures everyone to conform, "For Good" is a wonderful tune of an undying friendship, and the album closes with "Until Last Night," a song about the kind of love that everyone seems to be searching for, but few ever find. Whoever this song was written for is a lucky person indeed, as Brian pours his soul completely into it. While it's not synthpop in its purest form, it's definitely a masterpiece in its own right. This is easily one of the best albums I have heard all year, and will be making a home for itself in my cd player for quite a long time. Get it, you'll be sorry if you don't."

Great emotional synthpop!

Jason Baker | Cullman, AL USA | 10/15/1999

(5 out of 5 stars)

"Color Theory's first album in a while, and Brian Hazard still has "The Perfect Song"'s. A lot has been going on for Color Theory, as Brian has worked with a outside producer (Keith Gillard of Tinmen) for the first time, and has also gotten married since the release of the last album.  There are some changes in his music because of all these new elements, but it's not a radical change. Piano's still play a large part in the music, and the lyrics are still very emotive and insightful. The version of "Stare Out The Window" on the album seems to me to be a combination of the version presented on the first Lexicon CD sampler, and the acoustic version presented on the re-issue of "Sketches In Grey". Apparently, there will be a track on the next sampler as well, and when I asked Brian about it, he said it'll be "April's Bonfire". I was kinda hoping it might be one of the 3 tracks that were considered for inclusion on this album, but didn't make it...but, oh well. Maybe they'll show up as B-sides to a CD-single... (Hint, Hint...;-) ). "April's Bonfire" is presented here in the same form, pretty much, as it appeared on the Y2K Compliant compilation. Actually, I've heard from Brain, and it turns out this version is a lot more fleshed out. Guess I wasn't listening close enough. I'm having a little trouble detecting any difference in the mix of "New Year's Day" on the Mix Rinse and Spin 2 compilation and the version here on the album. I think the version on the compilation may be a little longer. The next  tracks here, "Long Distance Martyr", and "Now I Know", are totally new to me, and are great tracks. "Now I Know" is a track dominated by Piano musically, and I've always enjoyed these almost acoustic tracks from CTheory. I think I downloaded a sound sample of "Guilt Reflected" off the Color Theory Website, or maybe it was played on a show of Internet Synthpop Radio, and the song is even better when I hear the album version.The song "Ordinary & Free" has a great chorus, but the verses seem a little long in comparison to the chorus. "Faces" is great. Dancey synthpop with the Color Theory touch.  "Acting Class" has the long verses like "Ordinary & Free", but it works a lot better in this song. For some reason, this song is just so appealing.. It has a story line that really draws you into the song. "For Good" is another one of those honest, really open songs, that lets you know the artist isn't just throwing down words on paper to make a song. You can really tell Brian's talking to someone through this song. "Souvenir " is the next to last song here. I didn't know Brian could hit a note that high. Wow. A neat song.   "Until Last Night" is the final song on this album, and it's another primarily Piano song. Very personal lyrics. Brian Hazard makes this the second album in a row in which he closes with a very personal song, and I really appreciate his openness with his fans. All in all, a great album."