Album Review: Above the Cosmos by John Garrison (2007)

Introduction:

Former front man for the UK-based band Budapest, John Garrison (who is currently playing bass on tour with James Blunt) released his first solo album, Above the Cosmos, independently last year. The album has made rounds to some independent and college radio stations, but unfortunately hasn’t gotten the playtime it deserves. Garrison’s unique style brings an impressive musical and emotional depth to what could have been a very standard singer-songwriter debut. That said, neither the singing, nor the songwriting fail to impress in this deep, often dark, yet hopeful work.

Tracks:

1. When the Lights Go Out

The song begins with a beautiful line, quickly accompanied by a driving drum line which gives the song a lot of momentum (suspended cymbals are run at 16ths through a large portion of the piece, along with some nice crash cymbal use). Garrison’s voice comes through as dreamlike and hypnotic, with a surprising power and clarity. The run “so hear me out, hear me out, it evens out in the end all of the time” is particularly beautiful, yet haunting. Great lyrics, and an exciting, interesting instrumental backing make this track a wonderful opener. The finish, with heavy bass and drawn out lyric is a clincher.

2. Above the Cosmos

We get a reprise of the piano theme from the first track with some overlaying melodies, and a nice use of ambient music. Feels like it could have been part of the opener, and doesn’t have quite enough structure to really stand on its own. Not meant to be listened to alone, this instrumental piece is nice, but only in context. I wish it flowed out to the next track as well as the previous one flowed into this one.

3. Testimony

A significant change here, we have a much slower piano chord progression, with very simple drum sounds (straight quarters with some fills). The powerful lyrics and voicing may have had more impact with quieter instrumentation during the chorus. Bass work is consistently solid, and the use of additional sounds for again a haunting effect is good. A decent, though not quite original track.

4. Walking on Broadway

Begins with a neat guitar picking melody and heavy strings with a significant bass melody. Another brooding piece, the lyrics are simultaneously what you would and would not expect from the title. Themes of togetherness and support in numbers are coupled with a recognition of the individual loneliness found in each character “carrying on.” Garrison’s voice again navigates an impressive range and run control throughout, with a great ability to convey the emotions here.

5. Carousel

Garrison’s history with bass must be apparent to the listener now, as prominent bass lines and progressions continue to present themselves, in different guises; bass guitar, piano, strings. Interesting use of pauses in rhythm and another nice piano melody keep things consistently exciting instrumentally. The lyrics get a bit repetitive, but are still engaging. The modulation about two and a half minutes in is nice, with the return of the female intercom voice. Garrison’s alyrical wailing here brings a great climax to the piece, which may have lacked energy with its initially pedestrian structure.

6. Convincing Myself

More ambient noise and “everyday sound” recordings become a motif in the album, as Garrison continues to speak of internal conflicts and very relatable psychological/social struggles many of us face daily. A heavier guitar element is a nice change of pace, especially with the grittier sounds, not to mention a pretty nice hook. We also get a return of the more frenetic (if still mostly straight) drums of the opening track, lending a nice intensity to the piece. I wish more of the songs would end with a bang, as the last four have kind of trailed off (this one, particularly, didn’t need to have it’s momentum killed).

7. Bugs to the Light

A return to a slower, more expansive, soulsearching expression. It’s not really appropriate to call these songs ballads, given their more introspective, philosophizing bent. This one is particularly dark yet hopeful, painting the individual as extremely insignificant, while still reflecting a desire to act present in Garrison’s mind. An expansive sound at once represents our smallness and the great possibilities that remain.

8. Shadow

More of a ballad here, the song begins with an allusion to the green light from F. Scott Fitzgerald’s The Great Gatsby, a beautiful, musically simple song detailing an experience of love. The lyrics come in consistently impressive verse, befitting the simple structure to the piano line. A real treat again with Garrison’s lamenting, emotional voice.

9. Below the Radar

Back to the power here in earnest after two slower tracks. The most unusual set of lyrics, relating to a “water wheel world.” Continuous use of water related metaphors, really using all of the imagined architecture of a water-based city. Certainly requires a few listens to get your head around, but we end up with a really nice tour through Garrison’s mind here, though I’d be lying if I knew the correct interpretation, if there is one. The percussion and strings interlude around two and a half minutes is very well done, leading to a final reprise of the main melody and Garrison’s wailing over the final chorus.

10. Abdicate

A rare acoustic sound pairs well with a very high, almost reserved tone in the verse vocals here, then transitions into the standard piano and electric/electronic based chorus, with once again powerful Garrison lyrics and voicing. A reflection at some rivals ability to overtake him, and his seeming acceptance of this fact, until he becomes overcome with some emotional toil, possibly jealously, leading Garrison to reveal his more sinister (inner) thoughts. The most effective “soft end” on the album, quite haunting.

11. Never far From Me

Subtle clock sounds in the back are a nice touch as the only percussion in this piano and vocal cut. Garrison could have laid a tasteful drum track beginning in the second verse, but shows nice restraint, adding to the cleansing nature of this track. One of the most hopeful (yet very possibly sad depending on the context of the song) songs on the album.

12. Happy Hour

The final cut is a nice summation to the album, tying a number of lyrical themes together. Garrison emphasizes the need to act while the time remains (for time passes by us all), the need to act in the moment, and to appreciate the moment itself. Further, while the individual is often insignificant, there is great significance in pairs, in relationships and friendships (the speaking in the background, friendly conversation, is a great addition). An extended chorus fits well with Garrison’s voice, stretching long phrases with ease and impressive power. The first few minutes of standard songwriting segue into a soothing brass part intertwining with Garrison singing sans words again, yet still able to project emotion so well. The album then concludes with more happy, in the moment, talking, some musicians playing (in the fooling around on their instruments sense), people talking in a café, and a wonderful final reprisal of the opening piano theme, a real treat for those who’ve been listening the whole way through.

Conclusion:

Excluding a few nitpicking issues mention above, I found it to be an extraordinary album, certainly one of the best of 2007. I hope to have the opportunity to see Garrison live in the near future. The album is full of intricate, interesting melodies on a variety of instruments, a notable nod to the bass parts (a biased appreciation from this bass player), beautiful vocals, and engaging, emotional lyrics. I would have appreciated a more coherent musical flow, though as an idea the album is put together very well (in terms of song content). Overall, a strong recommendation.

Score:

Above the Cosmos - John Garrison
95/100