If the leap from his debut to 2011’s ‘Slave Ambient’ was fairly staggering, then this third album does little to suggest the ambition has shrivelled. Spacey jangle is still in the foreground and the motorik Springsteen schtick has grown ever grander. Adam Granduciel has a perfect American rock voice and, soaked in reverb, it truly soars on this fine set of songs. Its installation at the top of a number of the monthlies’ lists prompted a tingle of snobbish backlash within me and did cause me to reflect on how much time I’d actually spent with the album since I first listened to it back in February for a review. I’ll confess, it had occupied something of a back seat as I’d taken its charms for granted. When I drew up my initial thirty, it had just missed out and it took those prominent positions elsewhere to make me reconsider. While I clearly still don’t think it’s the album of the year – to be precise, I reckon there are fourteen records that are better – I do now remember what I loved about it back on those glorious late-winter, early-spring days and now do again.
The album mutates as it progresses, its second half stuffed with slow-burning majesty that comes to overshadow the adrenal rush of early belters ‘Under The Pressure’ and ‘Red Eyes’. Even those more obvious corkers don’t entirely play by the rules, the former descending into several minutes of sonic noodling and electronic washes. ‘Lost In The Dream’ is an album where long songs are the norm, where breezing in and out is not the done thing and yet where nothing outstays its welcome. The afore-mentioned delights of the latter stages of the record are typified by ‘Burning’, which slowly erupts into a cosmic burst of Boss-inspired jangle that seems barely tethered to the ground at times. The song has each layer gradually added to proceedings at its start and symmetrically dismantled at its end. The same method is employed with ‘Eyes To The Wind’ and it’s when listening to that track in particular that you realise what the major appeal of this record happens to be. I am a sucker for live performances where the band lovingly deconstructs their own songs, basking in the beauty of what they know their audience already adores, drawing out the emotive moments that mean so much to the people staring back at them. ‘Lost In The Dream’ manages to achieve a similarly warm relationship with the listener from afar, and for that I’ve realised just how much I love it.
The difficult conception of these songs, during months lain low with depression, is not mirrored in their mood, which is more wistfully sentimental than the backstory or drumbeats might suggest. Granduciel has reached the point where his music is consistently beautiful and I did him some disservice to treat his remarkable craft so casually. Richly melodic and possessing a classicist pop sensibility, this is rock music with soul.