MV WELLS – LE DAUPHIN

The new album by MV Wells, “Le Dauphin” is not afraid to write a melody, or use any instrument needed in its production. In a modern “Sgt. Pepper” kind of way, the songs are each unique, with the aesthetic needed that best fits the theme or tone of each song. The tracks rely on a sheer singer/songwriter appeal, with no unnecessary effects, or being lost while being while being submerged under a mountain of guitar pedals and effects. The influence is from a different era, not buried in too much delay or 90s guitar overproduction. Instead, we are just left with good recording, songs, and singing.

On the first song, “Stone That Was Thrown,” we hear instant Sunshine daydream pop from the first note. Crisp, clear and bright as a day production with precise, easy to comprehend lyrics; 60s Donovan at heart but in the 21st century. This shorter opener leads to “Love Unseen,” a piano driven song of a Harry Nielsen school, with a focus on the melody and psych pop songwriting. The Zombies’ Odyssey and
Oracle album comes to mind a bit in a good way: Orchestral Pop. “Dreaming About You” is a possible appeal to the 80s and 80s pop-rock influence, while “Tropic De Novo” has the vocals drop in mixed front and center, more Phil Collins than Iggy pop, but seemingly with both influences present. This track has a mystical reggae inspired syncopation with a soulful delivery. World influences are heard, leaning forward in the direction of the Paul Simon Graceland era.

“Spectrum Boy” hits big with Motown single vibes. Big stadium sound touching the classic American soul. I’m sure this song is a crowd pleaser played live, and one of the best moments on the album. “A Lovely Sin” is featured as the most rock riff bass and drum driving song on the album with a post “Teenage Lobotomy” lyric New York fantasy. Followed by “Killing Time,” a piano power ballad to take a breather, with some cool organ to wash over the track. “I Won’t Say” is the main and penultimate psych epic song on the album. The listener walks the streets of this depressed land, looking for hope. “It’s not too late to pull it all together” stands out; the lyrics speak to us as we all remind ourselves of this. Then unfolding into some dark synth solos that have an orchestral arrangement, almost “Modern Gary Newman meets Mozart” classical influence with an experimental horn section, and cascading drum fills into a transformative prog ending. “Farewell” is the acoustic light song serving as a nice epilogue to the album. A nice farewell to friends, and the listener, at the end of the album.

“I’ll see you again,” as well.