Christopher Gleason’s side project Noise Floor Delirium just released the gripping album Life Street Closed. This album reveals soundscapes unique to Gleason and his own musical imagination. It’s not just that the vocals and the music are quite good. It’s more in the way this maestro blends his unusual colors, tones, and instrumentation.
Opening cut “Matilda Stomp” gets a crusty rustic edge from a spare banjo line. A burst of percussion punctuates that banjo line as well as a forlorn vocal recorded as if it’s being broadcast from an old time radio show, a distant feeling that works quite well in this sparse arrangement. A twitchy guitar line or two join the ranks along the path and that makes for a rustic tumbleweed journey through Gleason’s imagination.
A quirky Tom Waits like narrator ushers us through “This House Isn’t Haunted Anymore.” Here’s it’s the space between an odd voice and the soundscape of swishy synth, accordion line, and accented bass guitar notes that intrigues. While the voice sounds haunted, it’s gives a spectral presence against its light accompaniment. By the time an electric guitar chimes in with assertive chords and edgy phrase, we’ve been through a darkness with a mysterious presence as our guide.
An edgy and foreboding guitar line travels through “Mendacious Alibi.” Coupled with a sublime organ line, a perfect platform is created for Gleason’s sandpaper vocal swagger. His vocal sustains carry well, cool enough to match this more rocking atmosphere. Dark vocals, edgy instrumentation, and vibe come together perfectly in this atmospheric push.
“Marsh Marigolds” finds Gleason placing his quirky voice just above an other worldly synth sound. He stays beautifully in character as his song transforms into drum driven rocker. A mesh of electric guitar and keyboards play out forlornly in the backdrop as this ditty lets Gleason emit his vocal assertions at a pace wisely contrasted with pace of the instruments. He makes the listener feel like he’s beaming his message in from an unearthly plain as the music bleeds with emotion.
“Coming Apart” gets an understated groove from the rhythm section. Gleason’s acoustic guitar with Jimmy Ryan’s mandolin and banjo ride the wave of tight groove beautifully. His texture of sounds comes at you in successive bits, giving his voice and his lead guitar a flight pattern that flows over the catchy rhythm. It keeps the motions flowing through contrast and it makes the lead guitar feel loose and magical, a magic carpet ride of sound.
The cool, dark swagger of “Back-Talking” makes it a potential hit single for local radio originals formats. A beeping keyboard lulls the ear into a world of attitudes. The listener can feel the tension build in this song as the keyboard gives way to an ominous low end which soon turns it over to a grinding rhythm guitar versus spiraling lead guitar duel. It’s a gripping piece achieved by having all of the instruments contrasting one another at once.
“Bottom Of The Sea” finds Gleason playing an understated electric line, rippling notes that make one feel submerged. His low key vocal furthers the forlorn feeling of this piece. Gleason’s success in this piece is the tone of his voice and his guitar and in the way they form a perfect vibe for his message.
A synthesized cooing sound traipses through “Nine-Tailed Fox,” adding to a haunting allure from ringing keyboard notes. Gleason’s whispery vocal pulls one in further. Taken together, all of these eerie sounds are just weird enough to remain interesting. Intertwining them makes a perfect backdrop for what a vocal that hints of mystery.
Down tempo close out track “Luck Comes Last” combines a light banjo line with a sharper electric guitar. This creates another good vibe song. Guest singer Lucy Martinez delivers her vocal at a considerate pace, letting the listener take in the song’s leisurely attitude. She also intrigues with her smooth but unusual timbre. Gleason’s guitar break sharpens the edge until the contrast with a tumbleweed banjo and drum combo increases the tasteful, self-restrained artistry.
Christopher Gleason has built a fine collection of original originals. Few others can take the rock and roll sound so far afield of where it’s been and still come up with such gripping music. His project, Noise Floor Delirium, and its new release, Life Street Closed, recorded at Noise Floor Delirium studio in Roslindale, Massachusetts, delivers a winner for serious music fans who like something a little bit different.
