the shadow kabinet. hark! review by alan haber. buhdge

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HARK! The Shadow Kabinet (Self-released) (2004) In London's Camden Town, the mad, musical scientist who trades under the trippy moniker the Shadow Kabinet, and conjures up vaguely psychedelic, aural images in his chromatic laboratory, is the also-known-by chap named Steve Somerset. With a wave of his wand (and not more than a little magic), he has whipped up a long-playing delight, very English and a most assuredly generous spoonful of modern-day, sixties-influenced sounds. Somerset's influences inform his writing but don't fingerprint it as mere nostalgia; sure, there's Syd Barrett-era Pink Floyd lurking about in the opener "Hark!", and Hollies balladry afoot in the involving, melody-rich "I'd Rather Be Out In the Rain," but there's a whole lot of Somerset too, playful and clever as all get out. For example, "Holy Cow," a fun, bluesy, rock romp with sixties guitar accents and a falsetto vocal in the chorus, uses slide guitar to great effect. And then there's the British folk-tinged "The Goucho Club," a wonderful acoustic instrumental with heartfelt guitars and a particularly nervous snake (or shaker, it could be) hissing at the end. HARK! is full of great moments. The considered, freak-out-fueled rocker "The Girl Who Cried Wolf" really shines. The introspective, mid-tempo ballad "Save Me" sounds like a song that the Small Faces could have wrapped themselves around in their later period. "Salvation Avenue," a song about a place where second chances are given out to the truly deserving, boasts a seductive melody and Somerset's typically warm vocals. "Roll up! Roll up!", the voice bellows at the beginning of "Immortal Invisible," a very sixties-sounding song that closes this collection in grand style; it's bursting with great keyboard sounds, and another wonderful melody. I'm not sure what Somerset's true focus is here--something about Blackpool Tower falling down--but the hook is strong and it makes me play the song over and over again. Somerset's music has that kind of effect on you. For pop fans who have been around a while, these sounds take you back even as they leap a bit forward. For listeners new to the pop scene, well, this is one of the better current introductions to the form. Alan Haber May 14, 2005
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HARK!
The Shadow Kabinet
(Self-released) (2004)

the shadow kabinet's hark! In London's Camden Town, the mad, musical scientist who trades under the trippy moniker the Shadow Kabinet, and conjures up vaguely psychedelic, aural images in his chromatic laboratory, is the also-known-by chap named Steve Somerset. With a wave of his wand (and not more than a little magic), he has whipped up a long-playing delight, very English and a most assuredly generous spoonful of modern-day, sixties-influenced sounds.

Somerset's influences inform his writing but don't fingerprint it as mere nostalgia; sure, there's Syd Barrett-era Pink Floyd lurking about in the opener "Hark!", and Hollies balladry afoot in the involving, melody-rich "I'd Rather Be Out In the Rain," but there's a whole lot of Somerset too, playful and clever as all get out. For example, "Holy Cow," a fun, bluesy, rock romp with sixties guitar accents and a falsetto vocal in the chorus, uses slide guitar to great effect. And then there's the British folk-tinged "The Goucho Club," a wonderful acoustic instrumental with heartfelt guitars and a particularly nervous snake (or shaker, it could be) hissing at the end.

HARK! is full of great moments. The considered, freak-out-fueled rocker "The Girl Who Cried Wolf" really shines. The introspective, mid-tempo ballad "Save Me" sounds like a song that the Small Faces could have wrapped themselves around in their later period. "Salvation Avenue," a song about a place where second chances are given out to the truly deserving, boasts a seductive melody and Somerset's typically warm vocals.

"Roll up! Roll up!", the voice bellows at the beginning of "Immortal Invisible," a very sixties-sounding song that closes this collection in grand style; it's bursting with great keyboard sounds, and another wonderful melody. I'm not sure what Somerset's true focus is here--something about Blackpool Tower falling down--but the hook is strong and it makes me play the song over and over again.

Somerset's music has that kind of effect on you. For pop fans who have been around a while, these sounds take you back even as they leap a bit forward. For listeners new to the pop scene, well, this is one of the better current introductions to the form.

Alan Haber
May 14, 2005