The death of his brother set the wheels in motion on a downwardly-spiralling chain of events that inform DALLAS BONER'S first 'proper' set of songs.
From disintegraton to despair, Boner gingerly picks his way through the fragments of his shattered life as 'I Love You Please Come Home' charts an introspective, retrospective course through his subsequent marital breakdown and eventual mental collapse.
Melancholy, heartfelt intimacy is the main emotional result of Boner's creative output, with the experimental veteran firmly fixed into his rookie singer-songwriter role.
The haunting reverb sees 'Standing Still, Silhouette-like' casting shadows as Boner freestyles his way through the myriad mix, whilst the delicate and deliciously downtempo sound, of his low-octave murmur sits just beneath the surface of 'The Remembering Slice' a fuzzy but unmistakable California surf-pop-style guitar ditty.
The mood of misty recollection increases as the record unfolds with a series fragmented instant-replay memories as the DIY slow-motion furthes the atmosphere of misty introspection.
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There's a stuttering moogy grind to the synthesised sub-pop optimism of 'Suddenly Good Times', as Boner ressurects his slick-flowing, effortlessly self-critical freestyle.
Elsewhere, the acoustic guitar frets squeak all the way into the heart of 'Sheet Like Teeth's hybrid electro-folk fanfare. It offers a stark contrast to the delicate arpeggios that fuel the ethereally-titled 'All Rivers Lead To Me' as the cello recreates emotional numbness deep within the crystal-clear production.
And finally, there's a steel pulse dictating the staccatto symphony as 'Transplant Heart' brings the firework-assisted curtain down on this 'unfinished' collection of of-kilter ballads, the impressive results of Boner's shifting, drifting exercise in self-therapy.
Sea Records online
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