Chris Brokaw says his new album ‘Gambler’s Ecstasy’ is “a complex, somewhat messy record. It’s all me; it’s all things I wanted to put across”. So what does Chris put across? Easy : guitar, guitar and more guitar. There is raspy rocking guitar, soft acoustic guitar, distorted guitar and guitar modified with all manner of effects. ‘Gambler’ reveals many facets of this veteran rocker who has been releasing solo material since 2002. You may know him from Come, Codein, Liz Phair, Pullman, Rivulets, Consonant or any of his numerous other collaborations. Brokaw has been making music for a while and his guitar still has a lot of to say.
‘Gambler’ starts off with a gritty, guitar laden rocker entitled ‘Criminals’. As the sound and tones of his guitar change from song to song on the album, so does Brokaw‘s vocal delivery. On ‘Criminals’ the vocals are subdued, grim and monotone, they seem to fade quickly beneath the weight of the abrasive guitar. The next track ‘Crooked’ hits you from a completely different direction. It’s a softer acoustic song punctuated by moody melancholy violin. This time Brokaw‘s vocals sound unfiltered and pure but still possess an earnest undertone.
The album bounces around between electric and acoustic guitar tracks moving from the ballsy ‘Danny Borracho’ to the gradually building ‘Into the Woods’. The latter possesses a foreboding and sinister vibe with guitar noise ebbing and flowing in the background. It’s unnerving; like walking alone in a dark foggy forest.
‘The Appetites’ is a massive, largely instrumental guitar gloomfest that Chris called a “hurdle” and once it “was finished, it became much easier to complete the whole album.” No wonder, ‘The Appetites’ clocks in at over 9 minutes. I wasn’t initially very fond of the track, I found the vocals murky and the persistent gloom draining. The song did wear me down however after a few listens since it is hard not to appreciate the impressive scope of guitar work.
Brokaw‘s ‘California’ is not sunshine and surfboards. Instead it sounds like an unwelcoming and sombre place. The song’s melody creates tension with the repetitive strumming between B and G strings. The bi-polar nature of ‘Gambler’ continues as Brokaw dives back into the Rock with ‘How to Listen’. This song is another catchy rocker with some interesting start and stop melodies. Then there is ‘Anacordia’ which felt unbalanced and awkward. Brokaw‘s voice sounds strained as he pushes out ‘Ana-coorrrrr-dddd-iaaaaaaaa’.
The album ends with the soaring ‘Richard and Vanessa in the Box’. A dazzling instrumental with pulsating waves of guitar noise. Brokaw included the song to “send the listener out on a wave; perhaps with the chance to reconsider all they experienced through the album, and perhaps with the opportunity to begin again.” It is certainly an impressive ending, focusing once again upon the towering guitarmanship of Brokaw.
I agree with Brokaw, the album is ‘messy’. ‘Gambler’s Ecstasy’ can be a challenge to listen to as it jumps all over the musical road encumbering the listener with a megaton to absorb but Brokaw demonstrates the many facets of his musical ability, creating complex, well composed, guitar laden tracks. I enjoyed the musical feast Brokaw creates despite the occasional disquieting bump.
Overall ‘Gambler’s Ecstasy’ is an atmospheric, guitar saturated romp through an eclectic range of material.
Released November 5th on Damnably.
Posted by Dave Guzda.
