Blues Prog-Rock?
Charles Campbell-Jones may be an unknown to most, but this album will soon convert you to his richly textured and captivating sound.
Opener 'Canaries In The Mine' sets out Charles' manifesto from the very beginning, mixing sorrowful strings with bluesy piano chords as if the two were natural bedfellows, the violin weaving in and out of the clattering, and eventually discordant keys.
'Stars' begins with apocalyptic guitars and moaning vocals that would be well suited to Radiohead, but they soon soften and paint an image of urgent, grandiose psychedlica, which forms a base for Campbell-Jones to lay down some unholy rock god vocals. 'Crank Me Up', a cover from one of Charles' favourite bands, is another grinding guitar and offbeat bell mind of belter with an infusion of 70s handclaps for good measure. Far from the heavy and theatric prog of this is the light, dancing vocals of 'Winter Palace', which are as emotionally charged as any singer-songwriter could ask for but matched by an equally soulful set of instruments as backing. 'Bring Me Home' is just a rock classic, bouncing around on vigorous major chords and an uplifting tune.
"I sing this song because the harmony's tense but solemn in a sense," muse the layers of vocals in 'Twilight Walt' a sweet tune with a regular synth sound that disintegrates bit by bit; most of the tunes on 'Wasting The Duke' feel very self-aware in this way, as if the individual singers and instruments are part of a higher whole called The Song. Unfortunately the length of the albums means the same songs inevitable come round again; 'December' masks the same twee arpeggios found in 'Twilight Waltz' behind a heavy coating of electronic roughage and solemn vocals.
'Better, Then' is a high point; a downbeat elegy which stands out from the heady rich composition of earlier tunes as it channels the menacing guitars, thudding percussion and echoing vocals into one mournful trail of music. The aching violin makes a reappearance in 'Caramel', a string-based number in which the swelling, menacing cello engulfs the vocals. 'Bruce's Concern' is another curious gem with Charles' vocals raw and passionate other a marching drum beat, chiming bells and building feedback before it peaks in the usual warm and wacky synths; again it's the simpler numbers that have the tendency to impress the most.
The press release compares Charles Campbell-Duke to Jeff Buckley, and in the richness of vocals this comparison may ring true, but Buckley's beauty was in his fragility and self-consciousness; his very destruction, whereas Campbell-Duke seems largely insouciant and unashamed to wrap his tunes in as many instruments as possible. 'Wasting The Duke' initially mesmerised me, but unfortunately the length of the album, and in some ways the overdone mix of instruments, meant it lost its lustre a little, but this curious mix of strings, prog rock and careening vocals is definitely one to check out.