LASERS LASERS BIRMINGHAM - WARNING
2019 - Self Released
Lasers Lasers Birmingham is an unusual name thought up by talented singer songwriter Alex Owen and has a memorable feel that on name alone lets potential listeners know that any recordings made under this banner are likely to be different. And so it proves!
A promotional phrase for the album seems to be the 'weird country music' label although I've heard much 'weirder.' Having said that, this is certainly country music with a difference and to any fans of what passes for country music in chart terms it is probably bordering on 'weird!' For anyone who doesn't absorb the lyrics and merely listens to the melodies rather than taking in the arrangements this album could almost be looked upon as contemporary country music, thanks in the main to the warm easy going vocals. Of course for those of us prepared to listen a little more deeply this is a recording that repays a hundred fold.
The album was produced by multi instrumentalist Jason Soda, who also played a variety of instruments on this album, at his own studio, Palomino Sounds in Los Angeles, which is where Alex Owens currently resides. Alex took all lead vocals and acoustic guitar and wrote all eleven songs, with Dan Wistrom playing pedal steel and mandolin, Travis Popichak on drums and percussion, Aaron Stern on bass, Jon Niemann played piano, Hammond organ and Rhodes piano, with Eleanor Masterson on fiddle and Sie Sie Behoff and Davey Allen on backing vocals.
Album opener and title track Warning kicks off with percussion and chiming melodic guitar and steel guitar producing a beautifully melodic start before Alex's vocals come in accompanied by harmonies on a gorgeous country ballad that rises and falls but always retains a nice easy going slow to mid tempo pace on an excellent song. There are areas of the song that are a long way from the standard country balladry so often churned out by the mainstream but this is still recognizably a strong modern, yet highly individual, country composition. Don't go trying to fix me is a gorgeous duet with Sie Sie Behoff who seems to bring a 'realness' to this beautiful song, that whilst country is anything but the often twee country duets we have become accustomed to and many are happy to accept. The song and performance certainly bring to mind some of the duets performed by Gram and Emmylou but with a little more edginess and individuality. Gorgeous steel guitar along with subtle percussion is at the root of the song but the vocals bring a tremendous amount of character
Finally, a nice chugging acoustic guitar and bass open Phantom vibrations, the song having Ryan's vocal to the fore as steel guitar and sawing fiddle join in bringing a slightly different perspective to the song. As with the other songs on this album it is most definitely 'country music' but with more originality than most are used to, perhaps a blend of 'hillbilly' and the edgier side of contemporary country.
This is not an album that changes the face of country music but Ryan Owen has his own take on the genre, the consequence being that if more of the Nashville 'chart acts' followed a similar path, I and no doubt many others would purchase more of their albums. Of course the consequence of that would be that those who simply want pleasant sugary sounds in the background may well not; unless of course they are prepared to listen more deeply and reap the rewards they would get from those talented artists who work outside the mainstream.
https://www.laserslasersbirmingham.com/
Lasers Lasers Birmingham is an unusual name thought up by talented singer songwriter Alex Owen and has a memorable feel that on name alone lets potential listeners know that any recordings made under this banner are likely to be different. And so it proves!
A promotional phrase for the album seems to be the 'weird country music' label although I've heard much 'weirder.' Having said that, this is certainly country music with a difference and to any fans of what passes for country music in chart terms it is probably bordering on 'weird!' For anyone who doesn't absorb the lyrics and merely listens to the melodies rather than taking in the arrangements this album could almost be looked upon as contemporary country music, thanks in the main to the warm easy going vocals. Of course for those of us prepared to listen a little more deeply this is a recording that repays a hundred fold.
The album was produced by multi instrumentalist Jason Soda, who also played a variety of instruments on this album, at his own studio, Palomino Sounds in Los Angeles, which is where Alex Owens currently resides. Alex took all lead vocals and acoustic guitar and wrote all eleven songs, with Dan Wistrom playing pedal steel and mandolin, Travis Popichak on drums and percussion, Aaron Stern on bass, Jon Niemann played piano, Hammond organ and Rhodes piano, with Eleanor Masterson on fiddle and Sie Sie Behoff and Davey Allen on backing vocals.
Album opener and title track Warning kicks off with percussion and chiming melodic guitar and steel guitar producing a beautifully melodic start before Alex's vocals come in accompanied by harmonies on a gorgeous country ballad that rises and falls but always retains a nice easy going slow to mid tempo pace on an excellent song. There are areas of the song that are a long way from the standard country balladry so often churned out by the mainstream but this is still recognizably a strong modern, yet highly individual, country composition. Don't go trying to fix me is a gorgeous duet with Sie Sie Behoff who seems to bring a 'realness' to this beautiful song, that whilst country is anything but the often twee country duets we have become accustomed to and many are happy to accept. The song and performance certainly bring to mind some of the duets performed by Gram and Emmylou but with a little more edginess and individuality. Gorgeous steel guitar along with subtle percussion is at the root of the song but the vocals bring a tremendous amount of character
Finally, a nice chugging acoustic guitar and bass open Phantom vibrations, the song having Ryan's vocal to the fore as steel guitar and sawing fiddle join in bringing a slightly different perspective to the song. As with the other songs on this album it is most definitely 'country music' but with more originality than most are used to, perhaps a blend of 'hillbilly' and the edgier side of contemporary country.
This is not an album that changes the face of country music but Ryan Owen has his own take on the genre, the consequence being that if more of the Nashville 'chart acts' followed a similar path, I and no doubt many others would purchase more of their albums. Of course the consequence of that would be that those who simply want pleasant sugary sounds in the background may well not; unless of course they are prepared to listen more deeply and reap the rewards they would get from those talented artists who work outside the mainstream.
https://www.laserslasersbirmingham.com/