Aaron Beaumont
Nothing’s Forever (Not Even Goodbye)
Milan Records
8/10
Singer-songwriter Aaron Beaumont’s musical journey will come full circle at the Hotel Café in Los Angeles on June 20th, 2009. The LA-based troubadour celebrated the release of his debut album Nothing’s Forever (Not Even Goodbye) at the Café last year and since then, the musician toured the country and according to LA Weekly, his record signaled the arrival of a new Elton John.
While those are some flamboyant shoes to fill, Beaumont’s record actually channels the spirit of music from the 20’s and 30’s. As a result, he manages to create a refreshingly unique sound that does not loose that nostalgic touch.
Take for instance, the track “Any Other Way”- Beaumont’s old-fashioned crooner-type voice tells the plight of two people over the sound of delightful piano keys. It fits the timeless scene of a dimly-lit saloon overrun by flapper girls that smell like cigarettes. He sets this playful, ragtime spirit even more with his clever lyrics: “His blues are wasted on some pinstripes chasing the green.” In the midst of all this old-school imagery, Beaumont’s stylized piano-playing breaks free of time-period comparisons and makes way for a solid arrangement that only modern-day artists dare to attempt on their debut record.
The second track, “Time Will Come” reveals his thought-provoking, sensitive side. The classically-trained pianist pays close attention to every detail in order to evoke this feeling: soft-sounding instruments that include reindeer bells, a soothing Rufus Wainwright-type voice, and lyrical references to a higher power. It is an all-encompassing piece of music that shares profound dialogue like this one: “The sublime is being loved by one you’ve hurt and the divine is loving who hurts you the most.” This speaks of humility as a result of faith and forgiveness. Once the song hits the bridge and everything is stripped down, the message becomes more blatant and dramatic.
The sophistication level in his music is outstanding and in a sense, this album pays homage to classic styles of instrumentation such as the early 20th century piano roll. The LA wordsmith’s vocal phrasing is melodic and his lyrics are personable and loaded with metaphors. But the biggest stand-out quality of this record is Beaumont’s willingness to take calculated risks. For instance, in the song “Julia” there’s a Beatles-esque flavor to it- the melody captures the same tone as the song, “Maxwell’s Silver Hammer.” His influences span over a long musical history and Beaumont is pretty brave to incorporate these sounds to mold his first album.
The way Beaumont approaches subject matter in this record is also intriguing because he makes a deliberate attempt to play up the lyrics amidst a plethora of instruments that he throws in the mix. “When You Lost Yourself” is a great example of dark, haunting lyrics supported by upbeat, circus-like music. The energetic, happy music challenges the threatening words in a way that makes the song fascinating and unconventional (if you don’t count many Beatles and Franz Ferdinand songs that accomplish the same thing).
However, Beaumont understands how to complement the energy level of his lyrics and music too. For some reason he goes with the concept of taking it slow- literally. The last few songs signal Beaumont’s comfort level with the piano and stripping down his music to find its emotional core. In doing so, he avoids being predictable or going overboard vocally and trying too hard with the musical arrangement. Instead, this direction works in Beaumont’s favor because this stripped-down approach suits him. “The Park Bench Song” is a beautiful demonstration of this because Beaumont goes back to basics, frees himself from trying anything fancy, and just plays the song. In addition, musician Justin Saunders tugs at the heart strings on the cello.
Elton John he ain’t, but Aaron Beaumont has the potential to ride a wave of success all on his own. His debut record has so many dimensions to it, from taking classic influences from different musical decades to layering his lyrics with metaphors. This is a good sign for an artist, especially one who can make an impact first time around in the studio.
–Gail Navarro