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Everyone
loves Lynchpin's Hand Picked Words! Pop
Matters This second album from Melbourne, Australia's Lynchpin is packed full of pleasant mid-tempo numbers with heartfelt sentiments. Hand-Picked Words builds on the melodic tendencies of their debut, again providing a full sound that belies the fact that they're only a trio. Guitarist/lead vocalist Andy Kirkland, drummer Glen King and bassist Dave Stevens have been together for a decade or so, and the tight sound reflects that long-term togetherness. While their previous effort was lauded in the US and Japan, they've remained a fairly well kept secret in their native Australia. This collection of pretty and well-produced songs should change that. Shane O'Mara (Ice Cream Hands) and Richard Pleasance (Paul Kelly, Suzannne Vega) produced and mixed the new one, while Jonathan Wyner (Aimee Mann, Nirvana) mastered it. This team has brought a suitably lush feel to the music, while still able to maintain an intimacy that serves the songs. "So
Damn Obvious," the album's first single, is a cute, upbeat
tale of one who is oblivious to the "head over heel" attentions
of a woman he thinks is out of his league. Already this infectious
song has gotten airplay on Australian radio and the band has performed
it on a few TV shows there. Trust is also the subject of "Under My Guard," a sweet ballad about the inadvertent armor we create around ourselves in relationships. This song is driven by the rhythm section of King and Stevens, and features some nice organ work from guest Matthew Vehl. Lynchpin knows how to create melodic pop that resonates in a big way. "Don't Talk About Us," the CD opener, is a delicious plea for agreed upon deception. The couple's no longer together, but "no matter what they say, don't talk about us" is the request. The wonderful chorus shows by example exactly how it's handled: "I'm fine / I'm fine, thank you / thanks for asking but I'm fine / and she's fine / she's great, thank you / thanks for asking but she's fine." Dave Stevens provides some impressive bass work on this one. Musically, Lynchpin's sound references the early work of Crowded House, with Kirkland's vocals reminiscent of a younger Neil Finn. The song "Inside Her Head" (and its arrangement) sounds very much like it could be a Finn/Crowded House composition, while "It's Too Late" also recalls that magical early Crowded House sound (even down to the organ solo). Still, Lynchpin's sound is very much their own, with harmonies and musical accents that fill the headphones, yet remain spare enough to convey the emotions behind the lyrics' intent. Kirkland plays some sweet jangly guitar on the haunting "Is There Anyone Out There," a soft song that looks for someone in the universe as kindred spirit, feeling the same way about chasing down a love as some comet racing across the sky. Another highlight is the uptempo "It's All Good," wherein a man is transformed by his ladylove into doing and acting differently, visiting concertos, opera, art galleries, etc. without regrets: "I'd rather shop than go to the game / my seasons tickets have gone down the drain." Harmonies drive "Jessica," a dulcet and dear farewell to an intriguing love. Perhaps the most beautiful song here though is the delicate "Four In The Morning," a tune of wistful regrets and lonely longing bathed in strings (ably provided by Mary Johnston and Willem Van Der Vis). Playful lyrics dominate "Breathing Down My Neck," featuring lines like this: "the trigger happy locomotive that I call defense / has now been crushed by the mortar and the pestle on the bench / and you're insightful in a dubious way / and as I rifle through the games that you play." "Why Don't You Face It," a musical examination of a doomed illicit love affair between a married man and his secretary, has a Glenn Tilbrook/Squeeze feel to it, as well as a hint of Neil Finn's "Sinner." These fourteen songs are a very strong sophomore effort (thirteen listed tracks, plus a bonus-hidden string and vocals only version of "Don't Talk About Us"). Lynchpin has matured some as a band, concentrating on their song craft, seeking respect more than popularity this time around (though one can follow the other). These
tracks cover traditional relationship issues (trust, deception,
loneliness and more) in intelligent ways, but couch them in mellifluous
melodies that get put across with a healthy serving of vocal honesty
and soul. Hand-Picked Words features songs that happily will stick
in your heart and mind for a long time to come. Sydney Morning Herald - Bernard Zuel Melbourne pop band Lynchpin have made several good moves with their second album. One of them was hiring producer Shane O'Mara. He brings a rich but not overloaded feeling, similar to that he produced on the most recent Icecream Hands album. The other good move was resisting the urge to get too energetic, preferring to play in the sandpit of mid-tempo songs in which soul rather than beat matters. Second album from this Australian trio, whose debut was comprised of tunes dating back to 1998. Singer Andy Kirkland often sounds like the Oz version of Glen Tilbrook. Kirkland's effortless white soul voice aches with tenderness. Augmented by the rhythm section of Glen King (drums) and Dave Stevens (bass), the band envelopes with warmth, using temperate mid-tempo grooves as the foundation for the alternatively pleading, sad and wistful/hopeful melodies. For the most part, this album builds on the strengths of the first record, as the songs are in the vein of Squeeze and early Crowded House (falling somewhere in between, actually), and have some nifty observational lyrics. My favorite cut is the spunky pub-rocking "It's All Good", about a guy who is whipped by his girlfriend, if you know what I mean. Actually, he's kind of liking it, yet kind of wondering if maybe it's going too far: "I'd rather shop than go to the game/my season's tickets have gone down the drain." This song would be a good follow up to the single "So Damn Obvious", where Kirkland tells a mate to open up eyes and do a pull on the girl whose been mistakenly placed in the "too hard basket". This song builds from light chukka-chukka guitar to some ringing lead parts in the chorus -- when the summery backing vocals kick in during the guitar solo, you know this song belongs in the winner's circle. Probably the main flaw with the album is that it could use a couple more temperate tunes like these. But this doesn't mean the primarily mid-tempo and slow numbers aren't up to snuff. "Four in the Morning" is augmented by strings and really spotlights Kirkland's wonderful pipes -- a heartbreaker of a tune. Even better is "Why Don't You Face It", which incisively looks at a woman running around with a married co-worker (Squeeze comparisons are very appropo here too). And loping songs like "Under My Guard" just feel good. I would love to see Lynchpin find a producer on par with a Brad Jones, who could allow them to continue to follow their ambitions. This is literate, catchy and full of heart. The Power Of Pop - Kevin Mathews There is something extra special about Oz pop trio Lynchpin. Oh sure, their jangly pop agenda seems familiar enough as many Oz bands trade in the formula. Okay so their obvious influences would no doubt include the usual suspects viz. Big Star, Gram Parsons, Teenage Fanclub and maybe Crowded House. So what is it exactly? It
could be an inherent charm or an instinctive verve that goes beyond
the mechanics of a simple pop song. Fact is, I catch a glimpse of
John Lennon circa 1962 - 1965 in much of Lynchpin’s music on
this excellent disc. Songs like the enthralling “Don’t
Talk About Us,” the hypnotic “C’mon
Baby Now,” the gorgeous “Under
My Guard” and the like capture the essence that made the
early Lennon work irresistible and yet provocative. Highest recommendation.
Not Lame Records - Bruce Brodeen We enjoyed the debut of Lynchpin "18 Eleven" for a lot of reasons we *love* the sophomore album "Hand-Picked Words". More breathless harmonies, flawless melodies and a strong spirit of the quieter moments of The Posies. But it's all here in stronger, more focused and highly enjoyable songs. You'll hear plenty of the finer moments of Crowded House, The Rembrandts, Stephen Duffy and Michael Penn all over this 13 song winner. But early Posies is still a defining inspirational center. Co-lead singers Andy Kirkland and Glen King have perfectly blended voices that compliment each other to add a new layer to the production. There's an emotional center on this release that grounds it at every turn. It's a confident assertion of what they do best.....sing. And sing like birds. But this time, the songs are so much stronger and driven by more energy, which have memorable and happily nagging melodies. Extremely Highly Recommended. |
