Brian Dunne
Clams Casino
**** out of *****
The Brooklyn based singer/songwriter Brian Dunne's newest solo album is a slice of modern NYC life as Clams Casino mixes lyrics that express exasperation and anger, wrapped up in folk rock and pop grandiose.
Dunne did it all on this album, singing while playing guitar, keys, and bass. He also self-produced the album with Dan Drohan supporting drums/percussion and a few friends helping out, expanding the records sound at times.
Two of the best offerings hit you right at the start. The production of title track jumps out as it is a solid slice of AOR pop rock with roots in the 80's as layers of backing vocals, synths and catchy melody ring out while "Rockland County" mixes big arena pop sounds in the vein of prime John Mellencamp with small town lyrics, giving a tip of the cap to Billy Joel.
Those "dad rock" touch points play well as Dunne delivers an aging rocker tune with "Play the Hits" as weepy guitar lines mix with an upbeat groove. That juxtaposition of lyrics that feel haunting and vexed, around bright melodic pop is a constant plus throughout the record, linking it thematically while feeling fully flushed out.
If there is a fault here it is that Dunne can go all-in, too much at times. "Graveyard" feels overwrought with lots of instrumentation including Brian Lotze and David Blumenthal brass work while "Some Room Left" is effective with layers of rising synths, chimes and more, but could possibly be even better if there was some more space for the song to hit home. "I Watched The Light" goes simple with acoustic picking and proves heartbreaking and effective.
New York City is at the core of Dunne's tunes throughout Clams Casino. Using a rolling upbeat groove "Fake Version of The Real Thing" rails against millionaires crying foul around subway stops and downtown billboards while the franticly pumped "Gracie Mansion" visits the mayors home and Little Italy while "Max's Kansas City" screams against authority and past street lives. Vocally Dunne recalls Paul Simon at times, singing with a sense of exhale that keeps him at wits end throughout his songs.
While frustrated and confused, Dunne tries to wrap it all up with the big finale, bringing in Alex Wright's organ on "Living It Backwards" which starts small and swells huge. Dunne looks for connecting with everyone, wishing they would come together against the bastards, as living in this world is hard.
That connection can be felt in Brian Dunne's pop sensibilities, a throwback to when everyone sang the same songs off the radio. Even in these splintered times Clams Casino works with solid sounds, questioning lyrics and an urgent author.
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