Bill Owens, the lead singer of Blunt Objects, can be described as an avant-garde pop artist. His musical style draws from various eras, including the 1960s (The Beatles, The Velvet Underground, The Zombies), the 1970s (David Bowie, Iggy Pop, Roxy Music), the 1980s (Brian Eno, The Cure, Talking Heads), and beyond. Despite being influenced by a wide range of artists, it is challenging to find a well-known comparison for the distinctive sound of Blunt Objects. Their indie music stands out as exceptionally unique in today’s scene.
As the album begins, a distant and haunting train horn captivates my emotions, evoking a sense of warmth within me. Suddenly, “My Best Friend” bursts forth, a song brimming with pulsating beats that outweigh the musical notes. In a manner reminiscent of Thomas Dolby or Gary Numan, Bill Owens constructs a lively, bubbling backdrop for his nonchalant and matter-of-fact vocals, akin to a glamorous music box fashioned by amplified robots. What fascinates me is the potential to place these vocals against folksy acoustic guitars, seamlessly fitting into either style. I particularly adore the subtle nod to The Beatles in the line, “I took a sad song today, tried to make it better / But things don’t always work that way.” The song humorously explores the concept of having had a best friend in the past while struggling to recall their name, creating an oddly poignant sensation. In the middle section, there emerges what resembles a harpsichord interlude, though the rich tonalities make it challenging to discern.
Transitioning to the second track, “I’m Going To Hell,” Owens maintains his submerged submarine-like vocal recording style, but this time with a touch of melancholy evident in his falsetto delivery. The music itself remains an experimental marvel, propelled by electronic instruments. A standout on the album is “Uphill Climb.” The delicate piano notes harmonize beautifully with the shimmering electric guitar, and it boasts a particularly compelling hook.
BANDCAMP: https://bluntobjects.bandcamp.com/album/shady-shadows
Another standout on the album was the track “Time,” which exuded an abundance of kinetic energy through its exceptional drum programming and masterful manipulation of timing. Additionally, the captivating and introspective “Where do You Go?” displayed a beautiful blend of lush melodies and melancholic undertones. The captivating tones and intricate textures in “Need To Be” further enhanced the album’s appeal. Finally, the closing track, “Falling Apart,” delivered a poignant emotional punch straight to the heart.
Although this album is filled with elements I thought if the songs were stripped down they would also work like that. I found Owens to be a unique singer and his vocals were actually my favorite part of the album. This is a gem of an album and I am going to listen to some of his other albums after this.
Within this album, I discovered a plethora of elements that, upon reflection, could stand on their own if stripped down. It was intriguing to witness the versatility of Owens’ songs in their raw form. His distinctive vocals, undoubtedly, became the highlight of the entire album for me. Undeniably, this gem of a record has left me eager to explore Owens’ discography further, compelling me to delve into his other albums.
Garth Thomas
