Year : 2013
Genre : Lounge Jazz, Broadway Ballroom
Label : CBM Records
Origin : United States
Official site : > - here - <
Noah Pine sounds to embody a perplexing-, yet quite authentic intersection between early days Dean Martin, Elton John, the timeless delirium of Tom Waits, and family friendly lounge jazz. While the musical production values reek top of the heat studio quality with competent emphasis exhibited towards the cultivation of many timeless harmonic passages orchestrated via a lush, traditional sound, Pine's unique vocal delivery doubtless equates with the cherry on top, while simultaneously reigning as the sole component to determine your feelings towards the content via a blink of an eye.
Noah Pine sings as he would have spent the last week in the company of a truck filled with bourbon and chose not to not remain thirsty in the process at all, but the inquisitive ears will have no trouble picking up on the fact that his singing talent is present throughout, yet he chooses not to refrain from embracing the "lonely bitter pianist in the bar" ethos in a pretty much cartoonish manner, and the passion filling this commitment is unquestionable. Read on to know more about this.
As structural constructs, the songs summon a healthy dosage of Elton John in their overall character, even though an almost complete lack of popesque hooks is observable - a beneficial trait, which makes things more serious than those Saturday Nights when the fighting is all right, and you are allowed to slap the Elton John with a dead tuna fish. There is a track on the album called "No More Fighting", though I would not claim that Noah Pine sought to strengthen the suggested resonance I have just outlined. (I don't want to doubt that, either.)
During the release, a favorite compositional behavior is notable, an overall musical narrative that all the pieces seek to submit to with fervent obedience. About one third of the respective tracks feature sung monologues of responsible alcohol consumption and glittering desires - the two often spend time together - and the skilled instrumental environments are ready to take initiative about the central sections. You have a section suited for listening to music, and a section during which to offer a compliment in the lady beside you, and a section to ask for a towel to get rid of the beverage poured on your face. The adept, melodic saxophone playing is something of a trusty sidekick during the release, as it is interchanged with the vocal presence in eloquent and efficient manner, all in the spirit of lounge jazz/lounge cabaret.
The album is composed of lush, placidly paced tempos and tormented ball room emotions that have been ran over by drunk drivers all through the night - and this pretty much is what you want to hear from this style of music, isn't it? If not, then you don't understand any of it. With the unrelenting confidence placed in the efficiency of his over-the top dramatic delivery, - cartoonish, but it works - Noah Pine certainly brings an astute sense of freshness to the table, as he sounds to be quite aware that as soon as you are dead serious about this niche, then you will kill every appeal of it. Noah Pine is someone you want to keep an eye on - but give him something to wipe the slime off afterwards.
Check out Noah Pine at his official site : > - here - <.
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