Christopher Owens’ back story is enough for an article on its own. He was once part of a religious cult and is a recovering drug addict and in 2012, he announced he was leaving the critically acclaimed band Girls to pursue solo projects. Here is our lowdown of his first effort, ‘Lysandre’.
Owens’ opening tracks with Girls, ‘Lust For Life’ (Album –
2009) and ‘Honey Bunny’ (Father, Son, Holy Ghost – 2011), were both classic
Beach Boys meet indie guitar affairs. Therefore, fans will be forgiven for
being a little shocked when they hear ‘Lysandre’s Theme’ for the first time. It
is only 39 seconds long and the dominant sound of the flute, signifies a change
of path and new ambition. One TT is sure Girls fans will relish.
The beginning of the track ‘Love Is In Ear Of The Listener’,
reveals Owens insecurities about his day job. The revelation is shocking
considering the admiration he has worldwide ( sadly Stephen Fry can testify,
it’s not everything):
“What if I’m just a bad songwriter / And everything I say
has been said before.”
Well, on ‘Here We Go’, he’s topic of heartbreak has
definitely been discussed before but few have tackled it with such poise. The
whimsical nature of the male and female harmonies along with the flute draws
you into a relationship that was obviously once beautiful and loving. However,
the sporadic bursts of Flaming Lips guitars accentuate just how painful and
desolate the end of a loving relationship can be. The emotion he evokes should
allow Owens to rest easy in his quest to prove himself as a songwriter.
‘New York City’ and ‘Lysandre’ have a Belle and Sebastian
warmth and spryness. The former, has melodic hints of Paul Simon circa ‘Still
Crazy After All These Years’ and the saxophone work will gather memories of Van
Morrison’s ‘Astral Weeks’ and ‘Moondance’ albums.
The qualities this album demonstrates more than most are
growth and escapism. The title track ‘Lysandre’, for example, uses the flute to
accompany his already well-honed ability to produce elegant harmonies. These
subtle changes are from a man determined to test his artistic abilities at the
highest level. Too few try to stretch themselves, and for TT’s mind, too many
overreach and lose focus on connecting with audiences. Owens, on his first solo
outing falls victim to this on ‘Riviera Rock’, an all instrumental affair which
seems irrelevant in the middle of this sublime pop album. Nevertheless, the
substantial use of the saxophone is one we may never have heard with the
constraints of his former band and its high turnover of members.
Owens, as with his time with Girls, still has the prowess to
cart listeners of to sunnier times. For the casual listener, or the listener
not bothered by lyrics, this album will transport them off to the west coast of
America. For those toiling with heartache however, this album will take on yet
more fantastic dimensions.
