TEARDROPS

Throughout the years, multi-instrumentalist Sébastien Gramond has gone through quite a variety of different styles and sounds. Undeniably prolific and driven to make music, his numerous projects have ranged from psychedelia, to dark jazz and even rockabilly. With 'Teardrops', Gramond introduces a new sound into his wide discography that hadn't yet been heard from his music at the time. Instead of the typical collection of jazz fusion songs he had been putting up on past albums, we are given a three-part 'symphony of sorts', a highly progressive piece of electronica-tinged jazz. A complex composition, 'Teardrops' is sure to be one of the more challenging records the man has produced, but a hollow sound and inconsistent use of electronic elements tends to bog down what might have otherwise been an excellent achievement.

The music, structure and ambition of 'Teardrops' is reminiscent of Yes' double disc work 'Tales From Topographic Oceans' although- of course- no where near as well realized. Beginning off with some very complex pseudo-symphonic orchestrations, the music begins to take hold of jazz percussive elements and uses these sounds together to create something altogether dark and unsettling. By the time the vocal work of Gramond comes in, '1st Movement' starts to come back down to earth, relying moreso on organs and pianos over the strange electronics.

The use of electronics is one thing that really defines this album, but also at times can take away from the overall enjoyment. Although parts of the electronic orchestration can work really well considering the man's budget, there are a few sections and sounds that tend to rob the electronics of their legitimacy, turning what is otherwise a very complex composition halfway into being an 80's video game soundtrack.

After a twenty minute epic of a '1st Movement' (which is also the album's highlight and achievement), there is a sense that the album is quite well done and even quite excellent in parts. Unfortunately the second and third of the movements tends to revert somewhat back to the jazz fusion conventions with which Gramond seems to have extinguished quite a bit of his innovation with. Neither of the two final movements hold the same technically intriguing moments or complex orchestrations, instead tending to close off the piece in a rather laid- back, mundane fashion.

While undoubtedly the most impressive Gramond release I've heard so far (and a shard away from being considered 'excellent') this ambitious step is not without its faults and weaknesses. On top of some inconsistent writing and execution, the production and performance of many of the instruments (particularly the pianos) feel very lifeless, and lack the depth, flow or dynamic to make the music come alive. Providing these issues are solved, any development on the sound 'Teardrops' has innovated for Gramond shall be met with great praise from me.