Eugene
Gallagher – The Bedroom Tapes (Independent)
The origins of the anti-folk movement are to be found
in New York City, when songwriters like Lach and Roger Manning decided some
sort of rebranding was in order after local folk bookers, still preoccupied by
the Greenwich Village scene from two decades before, wouldn’t let them play
their post-punk, acoustic songs. Of course, all good things tend to spread, and
anti-folk scenes were soon to be found far and wide - which of course is
nothing more than a roundabout way of introducing Eugene Gallagher, an
anti-folk singer-songwriter from Stratford, Connecticut.
His new album (recorded in various bedrooms – thus
the title) won’t be winning any prizes for production, but its back to basics,
homegrown approach doesn’t lack charm. Voice and guitar provide most that’s
required, and within those confines Gallagher does a sterling job, telling his
tales and backing them effectively. In fact, his musicianship is instantly
appealing on opening cut “Cry Me a River” – the guitar is raw and unadorned and
the rattling percussion might be nothing more that fingernails on a pickguard,
but it comes together just fine.
You’ll not have to wait long for further highlights;
“Cabinet Killer” brings to mind the first Matt
Johnson record – raw, melodic and vaguely unnerving – and “Tomorrows Evident” is both awkward and psychedelic.
Gallagher has been self-recording and releasing music since 2005 – mostly under
just his first name - so he’s hardly a novice when it comes to getting the
sound he wants. That experience tells throughout “The Bedroom Tapes” and fans
of early Elliott Smith records, or Lou Barlow, both with Sebadoh and solo, will
find a kindred spirit here.
Phil S.
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