Connecticut recording artist Brian Larney’s White CD stays within lovely patterns of melodies, harmonies, and pop perfection song craft. That is an approach that works wonders for Larney’s songs. His voice is another part of his magic. It’s so refreshing to hear a pop singer carry so much of the song with his vocal. There isn’t any song that this male singer-songwriter-multi instrumentalist cannot put a sunny musical spin to. This fourth album is a treasure trove for the ears.
Opening cut “Bad Things” charms the listener with its amicable folk-pop catchiness. Larney’s voice is a long, rangy instrument of its own, and he rides his vocal line with bright energy. As the song is so inviting, light touches of coos, organ, and acoustic guitar shine alongside the vocal line in a way that recalls The Beatles and many other melody strong artists.
“Enchanted By The Moon” moves with a gentle push from its backbeat. Over that groove rides Larney’s cool vocal sustains and bright coos. His voice recalls the warmth of Elvis Costello, especially as he’s accompanied by a swirl of organ and a slapping acoustic chord progression. This deferential tune uses the moon as a metaphor for all sorts of enchantments, making this piece a natural soundtrack for any happy evening event.
Continuing in this peppy pop milieu is “A Beautiful Way.” Its hooky chorus catches the ear with its simple but memorable lines. Larney’s happy, forward looking philosophy shines through in each verse and his sweet, charming sustains carry it all with a brilliant sparkle, like sunlight reflecting on colored glass or running water.
“This Man Is An Island” benefits from a flowing sensation, the way Larney gives his song a purposeful motion. His warm, sweet vocal assertions give it a second motional tug, and a piano interplay this song feel as familiar as something we’ve known all our lives even though it’s wholly new and fresh. Emotive lyrics come to three dimensional life as Larney’s vocal expression grows far and wide in its projection.
Larney makes his lyrically sad song “My Hands Are Tied” feel happy with its inviting chorus and its bright piano progression. An electric guitar phrase takes it to a higher level of pop buoyancy, forcing Larney to keep things motivational at the microphone, which he handles with much aplomb.
One crestfallen number here is “The Devil And I,” which feels as regretful as such a paring should be. Larney carries us through the maze of dark possibilities with a quieter vocal, showing his prowess within this context too. His smooth application gets a boost from an organ swirl as well as his keen sense of harmonies, backing voices that come in with a majestic sweep.
“I Hate Being In Love” comes in with a bopping groove and slapping guitar and organ chords. Larney’s voice sweeps over all of the instrumentation, a polite contrast, with a breeziness that belies the lyrical truth of his song. He sounds too happy to hate what he has, making this a facetious poke at the interpersonal quirks in romantic relationships.
“Even Though” commences with a tinkling of piano notes the remind of The Beatles, The Carpenters, and many other combos who built their songs around engaging melody lines. Larney’s emotive vocal goes into affective sustains, milking the feeling in this piece for all of its worth.
Close out track “The Crossing” follows a different drum. With sweeping harmony vocals, Larney sings in a darker tone about not going too far, not overstepping one’s bounds. Here, he applies his range to a moodier piece yet has the same success because his voice is special and he knows how to use it. His weave of instruments, too, gives this one an intriguing texture.
Larney, who produced his recording at Back Room Studios in Black Rock, Connecticut, offers a CD that is made for our anxious, depressing, changing times. He can keep his head and ours above water with his bright melodies and with his sunny lyrical catharsis.
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