Henry Wagons’ debut effort as a solo artist ends up being decidedly not so solo. Alternating between six guests vocalists over the course of seven tracks, Wagons embraces the strengths of a dual vocal attack as he guides the listener through an atmospheric and gothic interpretation of the Wild West.
An homage to the outlaw, this album is an ode to the lost theatrics of rock and roll, as Wagons’ country influences foreground the brooding ambience.
Bellowing as he engages in duet with artists such as The Kills’ Alison Mosshart and The Grates’ Patience Hodgson. Primarily female, these guests enrich the album’s texture and act as a counterpoint to Wagons’ smoky croon.
Album opener ‘Unwelcome Company’ is a haunting and triumphant tune that unfolds with just the right amount of mystique and intrigue to hook you into the intense drama of the track.
However, it’s the gallows humour and ill omen of “A Hangman’s Work is Never Done” (featuring Hodgson) that really sets the album off, with simple lines such as “tie the rope/pull it tight/make sure the knot is placed just right” delivered with such intimidation and menace that it will send chills down your spine.
The palpable atmosphere created by these tracks is lost in the slower and more traditional country fare of the album. The duet with Jenn Grant on “Give Things A Chance To Mend” does well at replicating the aching heartbreak that has long been standard fare for country music, yet set alongside the sinfully lustful “I’m In Love With Mary Magdalene” (feat. neo-chanteuse Sophia Brous) the track seems lacklustre.
Unfortunately, at least half of the album consists of these intimate and stripped-back ballads. Compared to the grand storytelling and twisted theatrical aura of the record’s standout tracks, these songs are lifeless. Although they are somewhat emotional, they aren’t compelling and destroy the thick melodrama Wagons has built.
With his debut mini-LP, Wagons presents a strong, if not misguided offering, absolutely conquering when Wagons unleashes, but occasionally let down by Wagons’ tendency to limit his scope.
