A couple of years ago I
was sent a CD by a group called Modern Field Recordings. The album was We Got Ur Back, and it was
really unlike anything else I was hearing at the time – a cool mix of folk, pop
and punk with a sense of humor. The album had its own peculiar vibe and
personality, and I was immediately a fan. The bad news is that band broke up.
The good news is Christopher Cape has released a new batch of tunes on his
first solo album, The Biggest Lie.
This album is full of thoughtful,
acoustic yet powerful songs. All are originals, written by Christopher Cape.
This is an excellent album that seems to affect me more each time I listen to
it.
The album kicks off with
“In Berlin,” a song that he softly counts off at the beginning, in just a
whisper. Christopher Cape has an unusual and distinct voice – a voice full of
emotion without affectation or effort. In some ways, it’s the voice of an
outsider, but an outsider we relate to, or want to relate to. There is
something sweet and beautiful about this song. Here is a taste of the lyrics: “Believe in anything you want, and nothing
else/Leaving on the next train/You’re too romantic, but I love you all the same.”
I also really like this line: “And how
you prayed the sunrise would at last bring some relief into this city.”
There is a moving instrumental section to conclude this song.
I also really love the
instrumental ending to “Stockholm Syndrome,” a song that is oddly delightful.
You’ll know what I mean when you hear it.
The rhythm is more at the
fore in “Divorcee,” which is an interesting choice, for it seems the beat or
rhythm drives the main character of this song, that it’s something beyond her
or below her, a strong force in her life. “We
are two actors in the very last play/Let’s just forgive and forget the past few
days/And I will tell them in the morning that it was an accident.” Then the beat suddenly stops for the line, “And they’re bored to the bones today/And the
hero speaks, and they’re not listening.” The rhythm returns on, “They’re oh so bored to the bones today/And the
villain speaks and they’re not listening.”
“Work All Day” is one of
my favorites. I love the acoustic guitar part, and the song also does
interesting things with percussion. And of course, like all of Christopher
Cape’s songs, the vocals and lyrics will grab you. He creates interesting
characters in his songs. “You’re a baby
in a grown woman’s skin/And at twenty-five you want to start to win/You lose
two boys or you lose two men/You’re tired of playing games with all of
them/’Cause they don’t feel the same about you as I do.”
“Crash” is another of my
favorites. This tune has such a good groove. That bluesy electric guitar hook
is wonderful, even comforting in a way. I just love this song. “I wish I was alone/I wish I wasn’t driving
you home/On these streets I’ve been down thousands of times/I want to take your
hand and not your life.”
“Feel The Same” is an
excellent song whose connection between characters feels so true. It’s like
they’re united in their uncertainty. When we feel like things are uncertain, or
beyond our control, it can be bearable if we’re with someone. In this song, Christopher
sings, “Open books to pray and sing
hymns/But you’re not sure if anyone’s really listening/I feel the same/And I
want to stay.” In another verse he sings, “You understand we’re all in a cage/So how can anyone evoke real change/I
feel the same/And I want to stay.” Nice, eh? On top of that, the
instrumental sections are beautiful.
“Edmund & Georgia” is
a moving love song that gets into you, then bursts open toward the end, and you
feel it’s you breaking open. “See you
again when we leave this mortal world.”
“Forgiveness” is a pretty
acoustic song that in some ways reminds me of some of the best of 1960s folk
tunes. Sure, part of that might be the scratchy record
effect that’s used partway through the song – which is unnecessary, by the way.
It begins, “Thief in the night, won’t you
please just listen/In the prison where you’re kept/And while your friends are
still sleeping/And for years and years, what’s the use in shed tears/For the
crimes you’ve committed/There’s no point to ask for forgiveness.”
Like on the first track,
he counts off the beginning of the album’s final track, “Need Some Space.” This
one has a very different feel. It’s a really interesting song, with some jazzy
elements and unexpected changes, particularly at the end. Though he is asking
for some space, the repeated line here is simple and direct: “I will miss your pretty face.”
CD Track List
- In Berlin
- Stockholm Syndrome
- Divorcee
- Work All Day
- Crash
- Feel The Same
- Edmund & Georgia
- Forgiveness
- Need Some Space
The Biggest Lie was released on August 1, 2013. You can check out Christopher Cape here.
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