![]() ![]() Kevin Devine calls this "a grown-up break-up (or break-ups, as it were) record, for strugglers by strugglers, a kitchen-sink 10th album pivot." Emotions - sadness, regret, weariness, and an occasional glimpse of hope - seep through the music, the arrangements, and the familiar sound of Kevin's voice, but I wish he had published the lyrics on his Bandcamp page, because I can't help feeling that I'm missing a good deal of what he's saying here. KEVIN DEVINE - Nothing's Real, So Nothing's Wrong () The opening track, "Blowing Off The World" channels Velvet Underground drone and "Pissin White Light" takes the conceit even further, to the point of VU pastiche (with a bit of Moldy Peaches scatology.) At 15 tunes, I wonder if this might have worked better as one album of the straightforward light-pop stuff and an EP of the kooky tunes, but it's certainly an interesting (if uneven) listen. "I Love You (Duh)" is a disco novelty tune with female voices, "Meme" (as in "I don't wanna be a meme") goes very Moldy Peaches with angular scifi guitars, a Devo-esque beat, and tongue in cheek lyrics. A couple of tunes ape cracked country or New Orleans party music, and then there's a bunch of stuff that's just plain weird, the kind of thing you might have heard on Avenue A back in 1999 from the likes of Jeffrey Lewis, the Moldy Peaches, or R. Much of it falls into the category that used to be known as Adult Alternative Album rock - easygoing, tuneful, pretty even, a slightly hipper but no less accessible variation of the shlock you hear over supermarket and department store PA's. His latest solo album is an eclectic affair, to say the least. These are the two faces of Jenny, each side is equally sexy and successful in their own mastery.DAVID HEATLEY - Life Our Own Way ()ĭavid Heatley is best known as a cartoonist (for The New Yorker among other outlets) and an animator, but he's also a songwriter with some history in the NYC anti-folk scene of the Nineties. An office executive in work, a passionate seductress at home.
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