Whether it was to reflect a change in creative direction or to conceal his identity, it was a clever move for Wes Carr to adopt the pseudonym Buffalo.
It will at least delay the inevitable flow of comparisons with fellow former Australian Idols – but such comparisons are hard to resist.
Fellow ex-Idol contestant Matt Corby also released a four track EP last year. The secret to Corby’s record, and the missing ingredient in Carr’s, is continuity.
Blood & Bone’s title and opening track is a winner. It’s a gorgeous, if somewhat stereotypical, country tune, complete with stomp, sweet harmonies, and references to “mama.” Carr’s tone is intoxicating and this style suits it more than the poppier offerings of his Idol-sponsored album.
As soon as the next track begins, the sexiness vanishes from Carr’s voice, never to return.
“Lost” reflects an artist who is just that. In trying to capture its namesake the song comes off as dull and Carr’s attempts at restraining his voice seem lazy rather than lustrous.
A mood lift is then attempted with the rockier “Eighty Eight”. The piano is funky and the guitar reverb is cool but for six minutes? Unnecessary.
The record finishes on its most bizarre note with “Cradle of the Universe”. Carr attempts to compliment psychedelic subject matter – think magic and rainbows – with a crescendo of marching band snare and a tinkly piano. In trying to be trippy it ultimately goes nowhere.
If these four songs belonged to a 12-track album, the last three may not seem so odd. But if Carr wants serious post-reality TV success he needs to pick a musical path and follow it with confidence.
