The honest kitsch of Sean Nicholas Savage

Both artists have drawn themselves a fine line between sincerity and smirking self-awareness, between self-confession and kitschy playfulness, their constant treading of which holds the key to their appeal. In Savage’s case, this effect has been achieved on his (many – he’s exceptionally prolific) previous records by his contrasting of introspective lyrics and impassioned vocals with AOR arrangements and cheap, plonky piano presets. On Other Death, he continues in this vein, albeit with a little more confidence and a stronger pop sensibility than he has previously exhibited.

After a brief introductory instrumental which, though pretty, does feel a little superfluous, we’re dropped straight into prime Savage territory; “Propaganda”, “Casablanca” and “Dont B Sad” are all effortlessly well-crafted slices of ‘80s soft-rock, a little ripe, but none the worse for it. “Promises” is arguably the highlight of the record, a more propulsive song than most heard here, driven by insistent snares, a slinky bassline and a superbly vulnerably- delivered refrain of “Promises were made to be broken”.

Lyrically, Other Death is stuffed with simple, lovelorn lines such as this, and although they usually work in this emotionally-charged context, occasionally Savage’s penchant for semi-ironic melodrama gets the better of him. It’s hard to defend, for example, breathy repetitions of such frightfully camp sentiments as “MIRACLES CAN HAPPEN!” That’s exactly the kind of thing that undermines the sincerity of these songs, rather than providing the sort of light, silly parallel that actually strengthens and highlights that sincerity.

That’s a quibble though, and surely such daft indulgences are to be expected when listening to a Sean Nicholas Savage album. Much of the rest of the album continues in a similar style to that so far described, although the DeMarco-like “Delta Fresh N Breezy” provides some much-needed sprightliness. The album closes with the sultry bossa nova of “Young Again”, a genre which suits the Canadian more than one might expect. Fragile electric piano provides a soothing accompaniment to Savage’s vocals on the record’s fullest realisation of the aforementioned combination of kitsch and honesty.

Sean Nicholas Savage does not bring anything particularly new or out of character to this album, but luckily his sound has become distinctive enough for this not to matter too much. Other Death does have its excesses, and it would benefit from a general tightening-up, but maybe that’s a facile criticism to level at Savage, the foremost proponent of Arbutus Records’ fiercely DIY aesthetic.