Intriguing and haunting When approaching this album it is hard not to get swept up in the story of it and the concept. It is a rock album recorded almost entirely on a c1835 Collard and Collard grand piano, something that is practically unheard of. Reading about this album, Tensheds’ commitment to it is obvious: He rented out Leicester Square Theatre for a week so that he could record the drums perfectly and subsequently turned his house into a recording studio.
As something that has never been done before, it is perhaps natural that Tensheds’ album seems to defy any attempts to put it into a specific genre. It ranges from hardcore rock that demands your attention such as on Milktrain, whereas at other times it includes classical piano and more upbeat and fun songs such as Sexshaker and Doghouse. The transitions are hard to map and the entire album seems like one mad piece of music that reflects the way in which it was recorded.
Tensheds’ voice is husky and beautiful and matches perfectly with the muscular composition in songs such as Framed For Glory, he seems most comfortable with more out and out rock but in songs such as
Fabric Of Time shows that he is more than a match for the slow and delicate piano. And it is really the piano that is the star of this album. With its beautiful runs and haunting notes this is what ties this entire album together and shows that with modern technology one instrument can have many different voices. Personally, I believe Tensheds to be at his best in the more upbeat songs such as Sexshaker and Doghouse and was less enamored by the slower almost spoken Powder Blue Leather Pinned Mohair Noose, but that may be purely a matter of personal taste. Overall this album left me intrigued and wanting to listen to it again in order to gain new nuances from it. Caitlin Arthur