– Chris’ Take –
On a chilly frost laden morning recently, I had the opportunity to indulge in the experience of public transportation. It takes almost 40 minutes to get to work via the bus route I have to take, so I usually occupy myself with some good music. Now, one of the things I am jealous of is my time. I seem to have little of it between my work, my job (not the same thing mind you!) and my family and limited social life, that I hate to waste it, even on listening to music that turns out to be crap, so I am always skeptical of trying something new. On this particular trip, I decided to listen to an album by Emmett Tinley that I was recommended and honestly, I was blown away by the smooth sound of all 10 tracks.
Hailing from Chicago, Illinois, growing up in Ireland, Emmett Tinley is no stranger to music, having been the front man of the Irish band The Prayer Boat and having released one solo album, Attic Faith, before now. Emmett Tinley’s self-titled second album has a distinctly laid back feel to it. Each one of the songs rise up from the speakers and cascade down into the depths of your musical soul. With beautiful music full of heart thrumming instrumentals, “Takes A Long Time To Heal” starts the album out on a melancholy note with lyrics full of a history of sadness showing the promise of better days. “Wherever You Are” and “Marvelous Day” continue the melancholy in pace with the first track, and then you listen to “In My Life,” which comes at you with a false upbeat tone and mood that tricks you into thinking melancholy is gone. Don’t be fooled. The lyrics still are down beat with failed romantic endeavors that somehow mesh with the upbeat instrumentals wonderfully, proving that it is possible to be mournfully upbeat.
“Sooner Or Later” carries instrumentals which come at you in a meandering fashion, like a woman might, with each step taken slowly toward you while she mulls over if you would be worth her time. Tinley’s vocals carry the song on its way combined with some surprising jazzy trumpeting. With songs like “Nothing In Between,” “Floating Cut” and finally “Here Comes The Morning,” the album returns to its melancholy roots with gusto.
While this album is distinctly mournful of lost romanticism, don’t get me wrong, each song is written masterfully to combine with its instrumentals and would be perfect for the soundtrack to a rainy day spent by the fire reading. I would recommend this album to anyone looking for something pleasing to the ears, and with a promise that they will never be the same after listening to it.