Christopher Owens – Lysandre

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.