Absolution, besides being the title of Shades Of Red’s new album, is also the name given to the religious concept of seeking penance, and the complete forgiveness of one’s sins. If this pop/rock trio are seeking absolution, they’re not going to find it, as they’ve done no wrong. Based out of Seattle, Shades of Red have little in common with their Seattle Grunge brethren. They actually have little in common with a great deal of bands, possessing a uniquely hard, yet melodic sound. To come up with a comparison to the sound of Shades Of Red would be to combine the bass work of Level 42, the vocals of Natalie Merchant, the power of The Who, and the polish and smoothness of Simply Red. It’s an odd amalgamation, but one that results in a spectacular sound.
At its core, Shades of Red consists of lead vocalist Solveig Whittle, drummer and bassist, Stevie Adamek, and guitarist and keyboardist Jack Brand. Various musicians also lend their talents to the album, mostly contributing lead guitar to various tracks in glorious fashion. The album’s opener, “Dotted Line,” quickly establishes the album’s general sound. Whittle’s vocals are pitch-perfect and delivered with emotion and power. Adding to Whittle’s track are some wonderful backing vocals that come out during the chorus, emphasizing the song’s hook. Beyond the vocals, Adamek plays a heavy, throbbing bass line, pushing the song forward just as much as his exemplary drumming. Brand’s rhythm guitar helps solidify the song, and his keyboard playing adds texture and atmosphere.
In a perfect example of, “If it isn’t broken, don’t fix it,” Shades of Red utilize this formula for a majority of the album. The second track, “Perfection,” is a bit more subdued, but the bass still chugs along like a steam engine, full of energy and driving force. Most of the song’s melody comes from Brand’s keyboards, which also account for the song’s more gentle nature. In a complete turnaround, “Bowl Of Seconds” is the hardest driving and most exceptional track recorded by the group. Adamek wails on the drum with precision fury and treats his bass the same way. Whittle rattles off lyrics at a quick pace, “It’s hard to talk to you when words become like weapons/You tally up your wins like this is war/You drown your sorrows in your bowl of seconds/And push the envelope of love too far.” The other verses continue to illustrate the destructive relationship the song’s narrator finds herself in, and Whittle sings them with just the right mix of bitterness, yearning, and desperation.
“The Wave,” featured on the album’s second half, is another similarly intense song in terms of Whittle’s delivery and the rest of the band’s musicianship. One of the key differences is the substitution of keyboards for the hard rhythm guitar throughout most of the song, but even then the song builds up to close with it. Whittle’s lyrics are just as strong here if not better and more revealing into the mind of the singer, “From empty rooms we never use/The memories we hide/ The unnamed things, like puppet strings/Control us from inside.”
The rest of the second half of Absolution is mellower than the first half. The two closing tracks, “Courtney’s Room” and the title-track still feature Adamek’s growling bass, but Whittle tones down her delivery and Brand’s guitars are more acoustic and keyboards more integral to the arrangement. The band has no problem at all shifting their sound, and it’s this versatility that makes the overall album so strong. There are many wonderful moments to be had with Shades of Red, from the scathing and rocking “America” to the achingly haunting “Sixty Candles.” Absolution is a uniquely rocking and smooth record that commits no musical sin, and everyone should be granted.
Review by Heath Andrews
Rating: 5 stars (out of 5)
