

| The eleven songs that fill After She Left are ballads, or near-ballads.
What connects them more than tempo is their relative calm. The quiet
that pervades this set invites a listener in to a small, private space.
This music is for looking inwards, not just for the narratives in the
lyrics, but for the myriad sonic moments that are strewn along the way.
From slowly decaying piano notes to an inhalation of breath, this album
is full of richly articulated quietude.
The doorway to this album starts at the front cover, both literally and figuratively. Candles are usually associated with celebrations, but the tone on this image asserts a darker reality. Even the photo is dark, as if lit mainly from that one candle and whatever available light is seeping in from outside the frame. What happens when we look at things in low light? Our eyes adjust. While this is not billed as a Chandler Travis Philharmonic album, many of the same robust players are on hand (most prominently keyboardist Keith Spring, bassist John Clark, saxophonist Ken Field, and multi-instrumentalist Dinty Child), rendering these thoughtful miniatures in full detail. There's also a cameo by Chandler's former partner, Steve Shook, who contributes his first new song in decades, the moody "Ask Too Much." Conventional drums and electric and acoustic guitars are largely missing, frequently replaced by paint cans or high-strung (Nashville tuned) guitars, the latter a recent passion. In short, new turf! -David Greenberger (occasional C.T. lyricist and author of The Duplex Planet) |


