|Artist:||Persona Non Grata|
|Title:||Fine Art Of Living|
|Label:||Cyclops CYCL 139|
|Year(s) of release:||2004|
|Month of review:||[02/2005]|
|1)||A Thousand Julys||5.49|
|2)||It's Not How You Play The Game, It's Whether You Win Or Lose||4.27|
|3)||The Only Person I Hate More Than You, Is Me||4.19|
|4)||Lament For Mayer||5.10|
|5)||Parfait Amour||7.29 MP3|
|7)||Gliders (Water Machine)||8.38|
|9)||I Wish That I Knew What I Know Now, When I Was Younger||4.42|
The energetic guitar returns full on in It's Not How You Play The Game, just the same alternating with the slower sections.
The Only Person I Hate More stays low on the guitars, or at least comparatively so, and is more dreamy. Only in the verses does the guitar push forward. During the bridge-turning-out-climax the verse theme is taken up a note, intensifying for the finale.
Lament For Mayer sounds very sad, starting of with piano solo, joined by tormented vocals, near whispered at times and to the point of crooning. This is quite a change from the tracks before, but for some reason this near sentimental track works out well enough between the other far more sharp stuff.
Parfait Amour slowly works up the appetite for the faster guitars, thus making the change over from its predecessor bridgeable. The track does have something of a dreamy feel, too, letting the tension built up through the previous tracks abate a little. Only several minutes into the track does the strength come into the track building towards the bridge towards the finale, this time picking it up real big with over the top vocals.
Russian Satellites is very much a piano etude. Once again surprising but working within the whole. The melody is not too fast, with some quick spurts along for measure.
Gliders fully returns the alternation of the sharp guitar sections with passionate vocals and the slow atmospheric sections, their melancholy a bit reminiscent of the French electroguys Air. The track's afterbirth Water Machine is guitar vocal, a bit melancholic too slowly letting the piano take over to move into Beachlife. The vocal section of this track is more directed towards pop, but the memory of this is pushed back by the guitar lick picking up energy bringing in tension pacing towards the a climax.
The closer in a piano vocal melancholy reflects on what was, after the vocal section adding in synths before finishing off with the piano.
© Roberto Lambooy