Chris Trapper’s latest CD, Symphonies Of Dirt & Dust, feature his smooth, soft, plaintive voice reaching across the soundscape with an ethereal quality. There is a dreamy quality to many of the easeful, mellow tracks here. His voice is a thing of beauty that seems to be coming to us from another, loftier, plain of existence. On his hookier tracks Trapper sings with that larger than quality that we associate with the larger names in the music. It certainly doesn’t hurt that producer Jason Meeker keeps the sound flowing smoothly throughout this musical journey.
Opening track “Angel Appearing In A Small Café” is a lovely sweep of acoustic guitar, singer-songwriter charm. Trapper doesn’t just sing and play. He seems to make his song float along a warm breeze, something one could listen to while lying in a cloud.
“Everything Was Possible” has a bounce in its step, owing to the pulpy groove that carries it with a hip swagger. Trapper carries it even further with his rangy vocal, sustaining warm beautiful notes in a chorus filled with longing and nostalgia. The vibe of the song makes one feel like someone is rushing toward an unhappy fate now that something has ended.
“If You’re Still There” walks slowly in with the mournful tone of a man who longs to be somewhere he cannot go to. Forlorn hope fades away with the minor key piano and synthesizer melodies in the backdrop. Trapper sings it low key, letting the song’s quiet desperation out through his gentle, easeful expression. He perfectly marries his lyrics’ emotional honesty to the downtrodden feeling that makes the sound here.
Other tracks, like “Best In Me,” find him crooning in his more handsome, slightly more hefty voice. That switch lets him blend right in with an acoustic guitar accompaniment, earnest and complex.
“Not The End Of The World” finds the acoustic guitar singer-songwriter being accompanied by a lively synth line. This unique approach shows how open minded and creative Trapper truly is, as he combines the grit of the acoustic with the modern instrumentation. His up tempo delivery lets him provide a pop vocal style. He puts this across with a lively charm, one that keeps the listener glued to what he’s singing about.
Title track “Symphonies Of Dirt And Dust” offers plenty of perky acoustic guitar notes and a lot of harmony vocals from Boston’s Amy Fairchild. This texture is the first thing that makes it notably attractive. Trapper’s way of singing meaningful verses with a straightforward, unaffected delivery make his words more poignant. That he can conjure a plentitude of emotion without seeming to try is another mark of a first rate singer-songwriter. This title track certainly has potential on Adult Contemporary radio.
“Into The Bright Lights” ambles forward with a sturdy walk as Trapper sings tastefully self-restrained. He packs a lot of emotion into each vocal sustain while making this feel like catchy folk-pop. A fun song with a lot of expression, it gets a second coat of meaning as backing vocalist Kristin Cifelli chimes in alongside him.
Trapper goes for a more full on pop-rock approach on “Blind Leading The Blind.” A light electric guitar rhythm reminds of U2 while dark piano chords fill the soundscape with the promise of drama. But it is in the irresistibly catchy chorus and the rhythm section build up that makes the listener picture Trapper singing this one on an arena stage. He has come up with something that radio potential written all over it, and it’s likely to become a fan favorite, a song that is constantly replayed for its sweeping, hooky broad stroke.
Though the approach is closer to singer-songwriter faire than catchy folk-pop, “Honest Man In California” is another that stands out for its hit potential. Here, Trapper keeps our attention with his solid delivery and charming delivery. He sings of the honest man in California with a depth of seriousness that cannot be denied. There’s just a hint of pop melody in the acoustic guitars and keyboards, enough to keep this in the ear candy side of singer-songwriter, a balancing act that’s a feat in and of itself.
Trapper makes his feelings very clear on “F#*k It.” While it’s a gimmick song, this humorous piece is a nice break from the seriousness of the rest of Trapper’s material. His litany of complaints about modern life is constantly punctuated by the most popular four letter word of all, a word we never actually hear, as it’s drowned out by a trumpet blast. The accompaniment from acoustic guitar and horns makes for a fun, warm backdrop, and it’s also a clever contrast to the hard hitting forcefulness of the lyrics.
Trapper closes out his CD with “Boston Strong,” a topic no serious city singer-songwriter can leave unwritten. With all that’s been said about the terrorist attacks, Trapper wisely chooses to focus on the strength of healing, and he does it with this very effective instrumental piece. Saying what he wants to say with piano notes and a cello, Trapper makes one feel the sense of triumph over sorrow and adversity. This piece presents a strong feeling of a people rising above fear, hate, and revenge.
Trapper has accomplished a great deal on his latest album, Symphonies Of Dirt & Dust. He offers raw, honest emotions in a variety of approaches reach the heart and soul while also pleasing the ear.
