The Mad Painter’s up-coming album Island Poetry has the clear signature of a band that knows what makes a great rock record: with the Hammond organ placed at the forefront, the electric guitars given free rein, a strong rhythm section, layered vocals, and songs that aren’t shy about being dramatic. Over the course of twelve tracks, the group from Boston adopts the broad spirit of 1970s hard rock, progressive rock, glam and melodic rock while at the same time giving each song its individual character. It is an album centred on movement and contrast, moving from the Deep Purple-style heaviness of “Debt Collector” and “Suit of Worries” to the straightforward boogie-rock energy of “Empty Bottles”, the powerful drive of “Spin Your Ventilator”, and the grand theatricality of “Shadow of the Words”.
What is so appealing about Island Poetry is the great variety on offer throughout its twelve-track sequence. Mad Painter doesn’t stick to a single interpretation of classic rock; rather, the album explores various aspects of that era while still retaining a distinct identity. The song “Two Horsemen” has the twin-guitar sound associated with Wishbone Ash, “Nektarized” goes into space-disco style, and “Stand Your Ground” gives the record its speed and aggression typical of Motörhead. In other instances, “I Am the King” makes use of the melodic atmosphere of the Moody Blues, and “Circle of Hands” is Mad Painter’s own version of the Uriah Heep hit. Six of the tracks include lyrics by writer and music journalist Dmitry M. Epstein, thus adding further wit, imagery, and character to the album’s theatrical nature.
At the heart of the project is Mad Painter’s dedication to the actual sound of a full rock band, with the combination of Hammond organ, electric guitar, piano, bass, drums, and layered vocals producing arrangements that have a broad, spacious quality without sacrificing their human element. The warm, analog-type production supports this idea by keeping the performances and the instrumentation at the centre of attention. “The result is vintage-minded but not nostalgic,” a phrase which sums up what makes Island Poetry so appealing: Mad Painter is not merely looking back at the 1970s; instead they are taking the musical language of that period and putting it into action again. The album is loud, melodic, theatrical, and fully committed to musicianship, offering twelve tracks that aren’t just meant to be heard but are designed to be played loudly and experienced as a full rock album.
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