Interview: Grammy Award Winning Singer/Songwriter Sharon Robinson

Interview: GRAMMY Award Winning Singer/Songwriter Sharon Robinson
Leonard Cohen's critically acclaimed producer and collaborator discusses her career and debut album as a solo artist.

 For more than thirty years, GRAMMY winner Sharon Robinson has been a part of the musical journey of the legendary singer/songwriter and poet Leonard Cohen. During this time, she has taken on many roles in the music industry, serving as a background singer, a songwriter, an arranger, and a producer.

Aside from Cohen, Robinson has worked with a plethora of artists, including Stevie Nicks, Aaron Neville, Morris Day, Robbie Kreiger, Thelma Houston, Brenda Russell, Jennifer Warnes, Randy Crawford, Hamish Stuart and Matthew Wilder. She co-wrote Patti LaBelle's hit song, “New Attitude,” winning the GRAMMY for Best Soundtrack Album (Beverly Hills Cop) in 1985. Her music has also been featured in films like Wonder Boys, Natural Born Killers, Pump Up The Volume, Stakeout, and Wim Wenders’ The Land of Plenty.

Most recently, Robinson has turned the spotlight on herself by releasing her first album as a solo artist. The recording, Everybody Knows (named after the song she co-wrote with Cohen in the late 1980’s) includes ten soft, introspective and soulful tunes that keep the backing soft, placing Robinson’s sensual and rich alto voice at the forefront. In addition to singing lead and backing vocals on the album, Robinson also played most of the instruments, provided the computer programming, and created the arrangements.

Serving as a writer on all of the tracks (having written a few of them with Cohen over the years), she was able to explore a creative voice that she has developed during her many years as a “behind the scenes” player in the business. The result is phenomenal.

Everybody Knows is a classy, mature, and seductive recording that is far more artistic than what you will find on today’s Top 40 radio and that, despite it’s gentle, contemplative vibe, resonates with emotive power. It combines the feel of new-age ambiance with the lyrical and melodic prowess of a refined and inspired singer/songwriter. The effect is intoxicating.

Recently on break from performing on Leonard Cohen's extensive world tour, Sharon Robinson was kind enough to discuss her background as a musician as well as her long-time collaboration with Cohen, the process of songwriting, her new solo album, and her plans for the future. In this interview we gain insight into the creative life of an extraordinary talent.

Has music been a large part of your life since childhood, and can you tell us about your earliest experiences with music?

I started taking classical piano lessons at a very young age, something I went after myself, and from that point on I was always either in the school choir or doing piano recitals. I started writing songs early, complete with arrangements and multi-tracked parts. I guess without really thinking about it, I always wanted to be a singer and songwriter and record producer.

Who are your greatest influences and inspirations as a vocalist? A producer? A songwriter?

I was at an event recently at USC here in LA at which Lamont Dozier spoke, and I was reminded of all the great R&B hits he wrote and how I grew up knowing every word and every note of those songs. I also recently met Roberta Flack, who I listened to so much growing up. And I listened to tons of Ray Charles, Marvin Gaye, Chaka, Stevie, Joni Mitchell, Getz/Gilberto to name only a few. There was so much great music, and I lived on it.

At what point in life did you make the decision to pursue music as a career, and what brought on that decision?

I don’t think I ever made a conscious decision to pursue music as a career. It’s something that kind of happened by default. And I’m really glad it did. When I had to start making a living, it was music, because that was what I could always do. And in my heart of hearts, it’s what I very much wanted to do.

Over the years, you have played many roles in the business: back-up singer, writer, producer, and now solo artist. Of these different roles, which do you find the most challenging? Which is the most fun?

Producer is probably a bit more challenging than the others, but it’s hard to say what’s the most fun. I love singing harmonies. Plucking an idea out of thin air and writing a song is great. And having total freedom to express myself as an artist by doing all of the above is about as good as it gets.

A major aspect of your musical life is your long-time collaboration with the famed songwriter and poet Leonard Cohen. How did this friendship come about, and why has it remained intact and productive for so many years in a business that can be so fickle and challenging?

I first met Leonard when I auditioned for the Field Commander Cohen tour in 1979. It felt like a friendship from the start. When we started writing, it was uncomplicated and easy. I guess that’s been the overriding tone of things since, no matter what kind of work we’re involved in. I think that’s partly what sustains it. I was lucky to have had the opportunity to show Leonard my work in the first place, and that he liked it enough to want to work with me.

As a musician, I know that the process of songwriting is a very mysterious thing—even to the writer. I wonder if you could shed some light on how the process most often works for you? Also, how is writing alone different from your collaborations with Mr. Cohen?

You’re right. It’s mysterious. Sometimes if I haven’t written for a while I wonder if I can ever do it again! But usually the application of some discipline works. Set aside the time. Put yourself in front of the dreaded blank page. For my album, Everybody Knows, I decided to approach it the way Leonard and I usually write, by starting with the lyrics and breaking with the pop songwriting convention of starting with the music. I liked that approach a lot for my own stuff and will probably use it again. Of course when I’m working with Leonard, he writes the lyrics, so I’m focused on the melody, the chords, the structure, and the arrangement that best suits the words and his voice.

In 2001, you gained a great deal of professional prestige when you were given such a prominent role in the creation of the critically acclaimed Cohen album, Ten New Songs, sharing writing credits on all of the songs, serving as producer, and even being featured with Mr. Cohen on the cover. Can you briefly tell us how this album (the first from Cohen in nearly a decade) came to be and how you came to play such an influential role in the creative process?

I was with Leonard at a family occasion in 1999 after he had recently left the monastery. Out of nowhere that day, he asked me to work on a record with him. At that point the extent of my role in the record was not clearly defined, but over time Leonard just really liked what I was coming up with, both in terms of the writing and the arranging. So my job description expanded as we went along. Of course we had already written some songs together, a couple of which were among his best-known songs, like "Everybody Knows," so I guess it all made some kind of sense.

With the album, Everybody Knows, you have stepped out from behind the scenes and Mr. Cohen to become a full-fledged solo artist. What made you decide to take this step? Has it been frightening, even for such a seasoned performer as yourself?



After we made Ten New Songs, Leonard encouraged me to make my own record, as did my lawyer and friend, Gary Gilbert. It was clear I could make a record without depending on a record deal or a huge budget. I had my own studio and could do a lot of it myself. So really, it just seemed like the right time to do something I had always wanted to do. There was a certain apprehension at first, but I tested the record out on a few friends and got some very encouraging feedback. Gary turned me on to manager Seth Keller, who was well versed in Internet marketing and new business models, and whom I knew would be able to get it heard. So I was able to have some confidence in it, release it, and let the rest take care of itself.

When choosing the songs for Everybody Knows, how did you approach the task and make the decisions? Also, the album has a vibe that is similar to Ten New Songs. Was this purposeful?

I tried to choose songs that were honest and from the heart, knowing that we all are dealing with many of the same things at those depths. The vibe was definitely intentional. I wanted it to have an edge and a mysteriousness to it. I did use my work on TNS as a model for my album, especially in terms of how it was produced. As a songwriter in the pop marketplace, I had been trying to serve many masters before Ten New Songs, so that period during and after TNS was an extremely welcome change and one that deeply informed me as an artist in my own right.

Since the release of your solo album, you have been on an extended comeback tour with Mr. Cohen and his band. Has it been difficult being part of this live show and working to promote your own release at the same time?

I see the concurrence of the tour and my album as an extremely fortunate set of circumstances. I’m getting a lot of exposure with the tour, and Leonard has been generous and gracious in his introduction of me to his audiences. The tour naturally gets a lot of press. And that, combined with great reviews and support my album is getting from bloggers and DJs, my fan base is continually growing. So when the time comes, I’ll be able to do some live shows.

The Live In London album you recorded with Mr. Cohen and his band last year is truly remarkable, and your influence on the music is very evident in the arrangements. Are you enjoying being on tour again? And are the crowds responding well to a show headlined by a 70-plus-year-old man who has been out of the spotlight for so many years?

The show is doing amazingly well and I’m thrilled to be part of it. Leonard’s persona, his songs, voice and delivery—together with the band and the whole production—are pretty magical. The best part is when people tell us their personal stories of how the music and the concerts affect them. To be part of something that touches so many people in that way is the experience of a lifetime. And I’m very proud to have contributed to it as a writer and arranger.

In your line of work, you have always been fair game for music critics. If you are given a chance to look back on your own work, with what single song, album, performance, or tour are you the most pleased? With what are you most disappointed?

It’s hard to pick one of anything, because I really try not to put something out unless I really like it. As far as the disappointments, in light of the above statement, most of them are still on my shelf.

What does the future hold for Sharon Robinson? Any new projects? Will you continue to work as a producer, writer and solo artist? Or just focus on one role?

I’m very excited about the future right now. I plan to write and record another album, do more stuff with Leonard Cohen and, when time permits, get into a couple of projects I’ve got on the back burner. I can’t separate the different roles now. It’s all part of the same thing. This is the balancing act that is my life. And I’m definitely not complaining!

In one sentence, why should music fans rush out and buy or download Everybody Knows?

I tried to do something really honest and from the heart.

Sharon's album is available here -
http://www.amazon.com/dp/B001BKNABO?tag ... amp=211189

Article first published as http://blogcritics.org/music/article/interview-grammy-award-winning-singersongwriter-sharon/ on blogcritics.org

Interview: Scott Rinning of the Cinematics

Interview: Scott Rinning of the Cinematics
The Cinematics' frontman was kind enough to set aside some time and answer a few questions about the new album, The band, himself, and a few other more random subjects.
http://www.associatedcontent.com/article/2316850/interview_scott_rinning_of_the_cinematics.html

The Cinematics, an up-and-coming alt rock band from the Scottish Highlands, recently unleashed their second album, Love and Terror, onto the music scene. This new release has earned the group a barrage of positive reviews that praise the new, edgy, and darker material.

Love and Terror was created during a very transitional period for The Cinematics. Their label, TVT Record Company, had collapsed in bankruptcy, causing the band to be passed off to a New York based business. Also, the group had replaced their former lead guitarist, Ramsay Miller, with newcomer, Larry Reid.

Benefiting from an increase in creative freedom offered to them by the new record company and from the addition of new talent, Love and Terror is a collection of songs with distinctive character, pulsing energy, and intriguing moodiness. It is fueled by emotion and seems to flirt with Goth stylings, offering a sound that is organic and, at times, even sparse (in a good way). Many critics (this one included) agree that The Cinematics are on the verge of superstardom.

A defining feature of the band’s sound is the unique voice of the lead singer, Scott Rinning. He has a straight forwad style of delivering the lyrics and a beautiful, soaring upper-register that is accentuated by a slight vibrato when he brings his highest notes to a close. The songs from Love and Terror offer him a chance to show off the expansive range of his voice and his ability to convey a variety of emotions effectively.

For the past few weeks, Scott and the boys have been busy honing their musical craft and building their reputation as an exciting live act while on tour promoting the new album. Luckily, the frontman was kind enough to set aside some time to answer a few questions about the new album, The Cinematics, himself, and a few other more random subjects.

Since the release of A Strange Education in 2007, The Cinematics have undergone some major changes in label and personnel. Can you tell us a bit about those changes and what influences (if any) they had on the sound and overall mood of the new album, Love and Terror?

Well obviously a new member is going to have an effect on a band's sound, especially someone as crucial to the sound as the lead guitarist. Larry has a much rawer, let it rip and let the sound man deal with it if it's too loud approach to his guitar sounds, which I think stems from his love of bands like Jesus and Mary Chain and My Bloody Valentine. He has also been a major contributor to the songwriting on this album. The collapse of TVT also had an effect on the album. It covers some dark terrain but not for melodramatic effect.

We haven't been living in comfort with celebrity girlfriends while still trying to pretend life is hard so we can mine a rich field of disenchanted youth who are hungry for some morbid music to cry along with. This is an album about four young guys living in a world that seems to be spiraling out of control while we worry about if anyone will ever hear the songs we're writing and whether our partners will still be there when we come out of the studio. It’s a real genuine honest album. The lyrics aren't hiding behind metaphors. They read pretty straight- from the yearning for a lover of "New Mexico" to the random pursuit of no string sex in "lips taste like tears". Its all from a real place, but it is still art — so don't read into it too much.

I notice that the writing credits for the new songs are pretty spread out across the band. Describe the writing process you guys undertook for Love and Terror. Did you write separately and bring finished work into the studio or was the material written during the sessions?

Writing is a mysterious thing. It comes to people at different times in different ways. People always ask me, "how do you write a song?" And I understand why people want to know. I want to know too. It's a funny thing. You want to record an album, so you book sometime in a studio at some point in the future, and then you just hope the magic- that is, the songs just fall down to you- happens before that allotted time. It's like getting a group of people together in a field with spades and cement and all the things they need to build a house, apart from instructions and any idea of how to build one, and then just hoping it will happen.

Don't get me wrong, there is a lot of hard work that goes into it too. It can be an incredibly taxing soul destroying pursuit that makes you question your worth as a human being, but at others it makes you remember why you do what you do, what you’re living for- and that's so rewarding. But the simple answer to your question is; we wrote together, we wrote separately, we had finished ideas before we hit the studio, and we just made it up as we went along. There is no process or repeatable pattern to describe. Every song is different.

On the subject of writing, the album notes state that you wrotethe songs "New Mexico" and "Lips Taste Like Tears". What inspired these songs, and how do you approach the task of songwriting?

Well, "New Mexico" was a song I wrote while touring in America. The person I was going out with at the time was living in Scotland, and I'd been away so long i think they started to question why they were waiting for me to come back. They took some time out to think about it and didn't call or answer my calls for a couple of weeks. The song is about being apart from someone and wanting to hear from them, about being able to sleep and looking up at the sky and knowing, despite the fact you're on the other side of the world, you're covered by the same sky.


It’s hopelessly romantic and cheesy, but it’s real. And to be honest, I write most of my songs as a kind of therapy. I think most artists do. So you’re really paying money to listen to their therapist’s old case notes turned into a musical.

You guys have always received a great deal of favorable reviews from the music critics. However, some writers have accused the band of being stuck in the past and too derivative of bands like Joy Division or The Cure. What is your response to such criticism?

So anyway, the said person in Scotland decided they didn't want to be with me when I got back. So I did what most ordinary people do when they feel a little heart broken,go out and find other broken hearted people to hide from the world with. And that's what "Lips Taste Like Tears" is about. Why am I telling you this stuff??

What aspect of the new album pleases you the most? Anything you'd change in retrospect?

What pleases me most is that, from its conception to its creation, we didn't know if it would ever be released. Therefore, it was never tainted by record company demands or fears for how it would be received by the press. We weren't trying to appease anyone with this album. We made it exactly the way we wanted to and just had fun experimenting with sounds and ideas. To answer would I change anything in retrospect- no. This album is what it is. It is the way it had to be. We won’t write or record the same album twice. There are things we have learned, and the next album will be another huge step forward for us again.

Many of the tracks on Love and Terror" display some wonderfully written melodies. I can imagine that several of the songs would sound great "unplugged" and "stripped down." Any chance of hearing some acoustic material from The Cinematics on future releases?

Yes.

Tell me how the band came up with "The Cinematics" as a name?

Well, I once had an acid trip in which the whole world was turned into flickering black and white and my life became a film noir movie. The movie had a mysterious sound track that inspired me so I decided I should form a band to write the soundtrack to our lives and call it The Cinematics. I'm not sure if that's true, I might just have thought The Cinematics was a good name for our band. Pick the story you think feels right don't spoil your life with the truth.

Has there been a big fence put around a large part of the human condition with a sign that reads, "trespasser's will be mocked with lazy comparisons to previous visitors"? Can we not write about the darker side of life without being compared to the few other bands that have had success there? The real question is are we pretenders or are we the real deal, carrying the baton of our genre forward? There are a lot of pretend gloom merchants out there. It’s for other people to decide who's real or not, but time will tell who really had something to say.

Could you briefly describe your background as a musician?

I grew up in a small town in the Scottish Highlands. There wasn't a hell of a lot to do. I could go out and play football in the rain with people I didn't like very much or stay in listening to records, playing the guitar, and dreaming of getting a band together so i could get out of the god forsaken place.

The Highlands is a beautiful place, but it’s a depressing place to live. There aren't any jobs and life is hard- especially for slight, fey musicians. There wasn't a music scene in my area. There weren't any cool bars with leather jacket wearing members to learn from. So, I listened to the music that I came across by accident. My friends and I all had older brothers and sisters, so we would steal their Cd's- things like The Smiths, The Cure, and whatever caught our attention. We'd then record it to tape and put it back before they noticed.

So, in this little town in the Scottish highlands, where most of the kids listened to euro pop/dance, there was this little group of skinny pale kids that looked like extras from The Lost Boys. We didn't think we were cool or not. we didn't know anything. we were in the middle of nowhere doing what we wanted to, and we were well outside the reach of the cultural homogenizing power of MTV.

As a vocalist, who has influenced you the most and why?

I remember my friend tapping on my window one night and saying he had this record that he'd nicked off his sister that I had to listen to. It was a Jeff Buckley record. He was still with us at that time, and I remember being blown away by his voice — it was incredible. I'd never heard anything like it before. Most of my favorite bands up to that point didn't really have what you would call great singers. When I listen to him now, the songs don't grab me as much, but his voice is still spectacular.

Most of my friends that aren't in bands are very jealous of my job. Larry often says they should be. There aren't many things about my job I would describe as bad. I think constantly living in a fish bowl, being under scrutiny, and being judged is difficult. The Internet is good for bands, but a bit bad for a band member’s mental health. Having reviews and interviews online for eternity is strange. I imagine it would be like having your work appraisals online for everyone to look at. I'm a very paranoid anxious person anyway so i could have picked a better job in that respect. The fact my doctor keeps my medical records written down makes me panic, so you can only imagine what the seas of stuff written about me online does to my health. The good things are endless though, and as I say, I'd be anxious whether I was in the public eye or not — so I can’t really complain. I'm doing what I want to do, and not everyone can say that.

It was British singers that had the biggest impact on me though. When I was growing up a lot of bands in my area were singing with affected American accents, and I hated it. I knew from the records my friends and I were listening to we had a great musical heritage that had been forgotten about in the 90s. So I looked to singers like Ian McCulloch of Echo and the Bunnymen, Billy Mackenzie of The Associates, and Jim Kerr of Simple Minds for my inspiration. Funny enough it looks like a lot of boys around the world were doing a similar thing doesn't it, ha ha.

The Cinematics have enjoyed an impressive amount of success ina notoriously difficult business. Has this success (and the music business in general) changed you in any way?

I don't think in any particularly bad way. I might be a little more cynical than I used to be, but at the same time, I'm also a little thicker skinned too. Being in an industry like ours will effect you but the challenge is to make sure it makes you stronger not weaker.

You've had the chance to do a considerable amount of touring over the last few years and have seen a large part of the world. If you could have a second home in any of the places you've visited, where would it be and why?


There are lots of places I'd love to spend more time in. We don't get to see as much as you'd think. I could write a great traveler's guide to the bars and clubs of the western world's major cities, but that's about it. NYC was a city that occupied my imagination for a long time as a future home, and it may still be. But at the moment, we are all preparing to move to Berlin. It's right in the middle of Europe so it cuts down traveling times when touring, and it’s got a rich and vibrant cultural life. The city has only been unified for 20 years, so in away, it’s still young and, most importantly for artists, cheap. Where there is cheap rent there are artists. That is, until Starbucks arrives, and then it all starts going wrong.

Do you prefer working and recording in the studio or performing live? Why?


They both have their merits, but I much prefer playing live — that's what it’s all about for us. An album is an advert for your live show. It always was and even more so now when no one actually buys records. A live show is a little break from real life for the band and the audience. I love going to gigs whether I'm playing or not. I've not lost my passion for live music. I think it’s the only way to listen to music. The record is just like a photograph — something to take home to remember it by. It’s nothing like being there.

What musical artist would we find on your iPod! that might surprise your fans?

There are lots of things on my iPod I think our fans would be surprised by, especially now — it’s been stolen. I suppose something like Julie Fowlis, a traditional Scottish singer, would be a surprise to people. It surprises me too, but it reminds me of home, and I'm not alone in my appreciation. Bijork and Phil Sellway of Radiohead are fans too.

Who is the most impressive person you have met as The Cinematics have climbed the ladder of the music business?

We have met lots of great people in our time. I've never met any of my idols though, and i don't think I'd want to. Our idols are idols because we don't believe they are really human, and I'd like to keep it that way. It’s like magic - we don't really want to know how it’s done.

Aside from music, what are your hobbies, and what do you do when you're not touring and recording?

I live in a great part of Glasgow over looking a park with a couple of my best friends. I like cooking, eating, and drinking when I'm not on tour. I'm a big fan of Stand Up comedy. Maybe it’s to offset my musical life, but if you find yourself in Glasgow your most likely to find me propping up the bar at the stand comedy club. I like reading a lot too. I'm a bit of a geek really. I'm reading The Stornaway Way by Kevin McNeil at the moment.

Going out to see new bands is still a big part of my life. I'm really into Wild Beasts like everyone else at the moment, but it’s been in my stereo for months now. I love their new album. His voice is both outrageous and brilliant. My flat mates are going mad now though, so I might have to put the headphones in.

Do you have any interest in recording a solo project at some point?

Anything is possible, but not anytime soon. My main focus is The Cinematics.

What does the future hold for The Cinematics? For Scott Rinning?

Well, we are already working on new material. We are going to really push the boat out on the next record. I really want to experiment more with my voice on the next record. I can do a lot more with it than I’ve been doing so far. So there is a lot of ground still to cover and a lot of great things still to come form The Cinematics. I feel we've at long last developed the confidence to start doing the things we always knew we were capable of, and I for one, am really excited about the future.

Lastly, here's a chance for you to give a sales pitch. Whyshould everyone rush to buy a copy of your new album, Love and Terror?

Because its one of the best albums you'll hear until our next one. You should buy it now before everyone has it, so you can say "Yeah The Cinematics' new album — it's great — I got it ages ago. Where have you been?!"

*THE CINEMATICS: Scott Rinning on lead vocals, Larry Reid on lead guitar, Adam Goemans on bass, and Ross Bonney on drums make up The Cinematics. The new album, Love and Terror, can be purchased wherever music is sold.

Article first published as http://blogcritics.org/music/article/interview-scott-rinning-of-the-cinematics/ on blogcritics.org

Music Review: The Cinematics- Love and Terror

Music Review: The Cinematics - Love and Terror
The Cinematics have delivered a sophomore album that bravely explores new, darker territory in their genre and that establishes them as a fresh and unique presence on the alt. rock scene.
http://www.associatedcontent.com/article/2258947/music_review_the_cinematics_love_and.html

Along with the dawn of the twenty first century came a musical movement called the post-punk revival that brought us bands like The Strokes and The Killers. These are groups that strive to sound like bands from two decades ago while keeping a finger on the pulse of modern times and pop culture. Arriving late on the scene of this “revival,” The Cinematics, a four piece band from Scotland, released their debut album A Strange Education in 2007, beginning a rise to prominence that is still unfolding.

The debut release was filled with inventive beats, memorable guitar riffs, infectious melodies, intense lyrics, powerhouse vocals, and plenty of post-punk angst. It received generally positive reviews and established a solid fan base for the band. However, some critics dismissed the project as being stale and tagged The Cinematics as a band that was retreading old ground, having been left behind by the founding groups of the post-punk revival.

Now, as if to answer their critics, The Cinematics have delivered a sophomore album that bravely explores new, darker territory in their genre and that establishes them as a fresh and unique presence on the alt. rock scene.

The album Love and Terror was created after TVT Record Company collapsed in bankruptcy, causing the band to be passed off to a New York based company called, The Orchard. According to the band, this move allowed for more artistic freedom when creating music for their second album.

Benefiting from this new creative freedom, Love and Terror is a collection of songs with distinctive character, pulsing energy, and intriguing moodiness. It is fueled by emotion and seems to flirt with Goth stylings, offering a sound that is organic and, at times, even sparse (in a good way).

The album features Adam Goemans on bass, Larry Reid on guitar (replacing former band mate Ramsay Miller), and Ross Bonney on drums. Scott Rinning contributes nuanced lead vocals and some guitar work. Extra instruments are tastefully reserved and used sparingly enough to make the instances of their inclusion have more impact.

The album wastes no time warming up, roaring to life with a pulsing opening track titled “All These Things.” The song, a stand-out from the album, strikes a somewhat forbidding and threatening tone that sets the pace for entire album. The chorus finds Rinning’s vocal trading off with a syncopated guitar riff that burns itself into the mind.

The second track, “She Talks to Trees,” maintains the established energy level and is just as catchy with busy drumming and a purposely frantic chorus the fits the lyric nicely. “New Mexico,” the only track penned by Rinning, is a well written and finely performed pop/rocker that sounds like it could be a cover of Killers’ material.

The title track, number four on the album, is the strongest song of the bunch. It opens with a relentless, trudging riff that is soon given a laid back drum grove by Bonney. As always, strong musicianship and creativity are evident in the guitar parts. In this case, the guitar fills and riffs help to lighten up the track. Otherwise, it could have been too dark, mysterious, and heavy.

Reid, the newcomer to the band, displays keen, radio friendly writing skills on this title track, and Rinnings sexy vocal, with its slight vibrato on the word “terror," is irresistible as it shines through the heavy atmosphere of sound on the recording. The song ends with an extended instrumental section that ventures away from the initial sound of the piece and builds slowly in intensity. It is a fantastic song, indeed.

Sadly, after the title track, the album begins to lose its momentum as it chugs towards its finale. “Lips Taste Like Tears” does allow drummer Bonney to show off with work on the toms, and the walking bass line has an interesting interplay with a complex and creative guitar part. But while the chorus has a memorable hook, the song overall seems a bit aimless. The track “Wish” suffers from the same lack of direction and isn’t as well composed as other numbers on the album.

Unfortunately, “Moving to Berlin” and “You Can Dance” almost seem like filler material.

The album closer, “Hard for Young Lovers,” has moments that hint of an epic that could have been. The chorus, complete with nice vocal harmonies and synth effects, has a hypnotic melody that works with the arrangement to create a textured, ambient mood. Unfortunately, the verses are too long and could have benefited from a more interesting musical development. Perhaps the guys should have thrown in more experimental sounds with this number and ended the album on a bigger and more daring note.

In the end, Love and Terror boasts ten tracks that vary greatly in quality and little in style. The first four display moments of brilliance and offer well crafted melodies, impassioned lyrics, and impressive musicianship. These four tracks are tightly composed and well produced, displaying The Cinematics at their best. While in no way “bad”, the remaining six tracks don’t meet the standard set by the opening numbers and could have benefited from further work at the composition and production stages.

That being said, it is important to remember that the band have experienced some major changes in the way of personnel and management and that they are breaking in new shoes mid-game. Fortunately, the current line-up shows limitless potential, and all signs seem to point a promising future for the band.

With Love and Terror, The Cinematics have not delivered a perfect album. However, they have proven that they are learning their craft, honing their skills, and positioning themselves to take the music world by storm. It seems they are beginning to find their own voice and to step out of the shadow of the bands they have emulated.

With these guys, when they are good, they are damn good. They offer top-notch musicianship, lyrics that are far better than those from most rock bands, and what seems to be a new found passion for setting themselves apart from their peers. One can’t help but wonder if this band is on the cusp of something huge and if this is a good album that will ultimately be but a precursor to a great one.

*The record is out on October 6, 2009 and will be available wherevever music is sold. "The Cinematics" will be touring the United States in early 2009 in support of the album.

Visit the The Cinematics on MySpace.

Article first published as http://blogcritics.org/music/article/music-review-the-cinematics-love-and1/ on blogcritics.org