Fireworks

Doris Brendel & Lee Dunham - 'Eclectica' http://rocktopia.co.uk/media/reviews/photos/thumbnail/200x200s/87/92/ca/doris-brendel-and-lee-dunham-eclectica-59-1517171025.jpg Hot

Added by Central Electronic Brain     January 28, 2018    
 
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Genuinely lives up to its billing of providing a template which announces "never mind the quality, feel the width".

For sure, there ain't too many people named Doris in Rock and Roll, none that spring immediately to mind that is. Aside from the rather dramatic cover by surreal artist Igor Morski, depicting all sorts of drawers appearing from her body and down her leg, it's an attention grabbing start. For the record, 'Eclectica' is Doris Brendel's ninth album. She's the daughter of Classical pianist Alfred Brendel and a former member of nineties Alt-Rockers The Violet Hour. She has quite a background and could certainly name drop a few classic acts in conversation. This new release finds her spanning Pop, Rock, Prog, Acoustic and World music; topics and subjects similarly from far and wide are delivered in an angst-ridden style on a collection that also finds her hooking up with Lee Dunham, guitarist/multi-instrumentalist of Rock/Metal band Primary Slave.

An introduction via the rolling and tumbling piano of 'The One', which is accompanied by a Tribal rhythm, remains on the verge of kicking off, but instead heads the other way into a cluster of 'Tubular Bells'-styled percussive piano notes. It heralds a journey on which very few musical stones are left unturned, as AOR crosses swords with a Chamber string intermission on 'Balloon', and there's the "I love going to the zoo with you" Funk on 'Animal', just a hint that expecting the unexpected is going to be par for this course (cue the crying baby sound effect and pseudo Classical nylon guitar moments).

Fireworks - The Ultimate Magazine For Melodic Rock Music

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For all the deviations, 'Eclectica' comes courtesy of a sound Rock-based bluster that provides the meat of the material, before the urge to throw in some twists takes a hold. If you're a CD purchaser, you'll find a series of atmospheric piano tracks providing between-track links that are not found on the digital version; these are probably not dissimilar to the lead-ins to 'Crying Shame' and 'Losing It' on the digital copy I was provided for review.

In choosing an album closer, they've gone for a typically thought-provoking diversion with the feel-good, carnival Reggae vibe and "one love/coming together" message of 'One World'. Hardly surprising though, bearing in mind that 'Eclectica' genuinely lives up to its billing of providing a template which announces "never mind the quality, feel the width".

Mike Ainscoe

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