Their
singer and chief songwriter Mark Moldre has a hoarse vocal tone
like Sting. The songs are reminiscent of Wings-era Paul McCartney
- only a lot deeper lyrically. The production, handled by the band
itself hark back to psychedelica-era Beatles ('Penny Lane', 'Strawberry
Fields', 'Fool On The Hill'). Clearly this album makes very pleasant
listening. Hitchock's Regret put themselves alongside Augie March
and Ice Cream Hands as creators of tuneful, intelligent adult pop.
Internationally a group like Travis is allowed to charm and romance
the world with music like this, but it's very hard to an Australian
act like this to make themselves heard. The songs speak of introspection,
and the hurt that comes with love. If the songs themselves weren't
moody enough, the psychedelic-style arrangements make them even
more dramatic. Perhaps there's even too much going on, too much
effort been put. It's sometimes hard to appreciate the beauty of
the songs themselves. But in the end those sounds, those arrangements
are going to add to the album's power to keep your attention. (On
Laughing Outlaw Records)
Their
singer and chief songwriter Mark Moldre has a hoarse vocal tone
like Sting. The songs are reminiscent of Wings-era Paul McCartney
- only a lot deeper lyrically. The production, handled by the band
itself hark back to psychedelica-era Beatles ('Penny Lane', 'Strawberry
Fields', 'Fool On The Hill'). Clearly this album makes very pleasant
listening. Hitchock's Regret put themselves alongside Augie March
and Ice Cream Hands as creators of tuneful, intelligent adult pop.
Internationally a group like Travis is allowed to charm and romance
the world with music like this, but it's very hard to an Australian
act like this to make themselves heard. The songs speak of introspection,
and the hurt that comes with love. If the songs themselves weren't
moody enough, the psychedelic-style arrangements make them even
more dramatic. Perhaps there's even too much going on, too much
effort been put. It's sometimes hard to appreciate the beauty of
the songs themselves. But in the end those sounds, those arrangements
are going to add to the album's power to keep your attention. (On
Laughing Outlaw Records)