Life never really seems to go as we plan. When we are young, we say that we want to be one thing, do one thing or another when we get older. More often than not, when we get older, those plans change and we find new paths in life. Even as adults, it seems our plans for life do not always go as expected or planned for one reason for another. For independent rock band A Doll’s House, that definitely proved the case as the band originally formed in the late 1980s by vocalist David Santos, guitarist Dav Petrunich, bassist Seth Rafkin, and drummer Tony DeFranco. The band built a name and following, playing famed clubs, such as The Whiskey, The Roxy, and The Troubadour as its members got older. For all of the success the band seemed to be having early in its life, the group’s course changed early on when the young men reached their early 20s, not even one album released by that time. Now some three decades after going their separate ways, the men have revisited their past and released their first-ever album as A Doll’s House in the form of Annum. Released Feb. 16 independently by the band, the 10-song record is proof that even though plans can and do change in life, dreams are still attainable no matter how old we are.
The 35-minute record is worth hearing at least once if only for its musical arrangements, which will be addressed shortly. The lyrical themes that accompany the album’s musical content makes for its own interest and will be examined a little later. The record’s production rounds out its most important items and will also be examined later. Each item noted is important in its own way to the whole of Annum. All things considered they make the record an interesting addition to this year’s field of new independent albums.
Annum, the debut album from A Doll’s House, is an interesting first outing from the band that decades ago seemed on the verge of real success before the lives of its members took the group in a different direction. Its interest comes in part through its featured musical arrangements. The arrangements are of interest because of their overall comparability to so many works from the likes of Spock’s Beard. Speaking more precisely, the dual vocal approach to the arrangements and the instrumentation in each is so similar in style to early works from that prog-rock band. In fact if audiences familiar with Spock’s Beard were listening to this record not knowing it was that band, they would almost insist it was the band, complete with former front man Neal Morse. That is how closely similar the two bands’ musical styles match up here. Given that likely was not the intent, but it certainly is there. This is especially important to note considering that A Doll’s House is not a prog-rock band.
While the noted comparison to works from Spock’s Beard is evident throughout the album, the band does, at least once, go more in a mainstream rock direction, with the album’s single, ‘Over Easy.’ This song’s arrangement borders more along the lines of the light rock ballads that bridged the sounds and styles of the late 1980s and early 1990s. This is evident in the pre-grunge guitar riff used at the song’s heart. ‘Hey Wait,’ another of the album’s singles, also tries to break from that comparison and offer more of a pure rock sound, though the prog comparison is inescapable. Between this content, the other material addressed and that featured in the rest of the record, the overall musical content featured in Annum gives listeners reason enough to take in this album at least once.
The musical arrangements featured in Annum are just part of the reason audiences should give the album a chance. The album’s lyrical themes make for at least some more reason to take in the record. Case in point is the album’s opener, ‘And Time.’ Lyrics were not available for the album but from what can be inferred through what can be deciphered, it would seem the song delivers a message of making the most of life. This is inferred right from the song’s lead verse, which finds Santos singing in part, “Don’t waste your time away/Time ain’t for free.” He adds in the song’s second verse, “Dream your bad times away/Like a cloud/Like a daydream/Don’t waste your time away/Time ain’t for free.” Again this seems to point to that noted seeming message. The inference grows even more in the song’s third verse, in which Santos sings, “Close your eyes/And the moment’s gone/Sun set’s slow/As the nights grow long.” As the song progresses, the story of an older man seemingly reminiscing about summers past hints even further at the apparent message. If in fact the band is working to deliver the inferred message then it does a relatively accessible fashion, making it easy for audiences to appreciate in its unique presentation.
On another note, the band seemingly takes on the equally familiar topic of a broken relationship in the noted single, ‘Over Easy.’ In the case of this song, the theme in question comes across as being sung by a man who wants his romantic interest to know he will be there for her, perhaps after her breakup with another man. This is, again, just this critic’s own interpretation. This as Santos sings right from the song’s lead verse, “You wish it wasn’t over/But it looks like it is/Try to straighten up your shoulders/From that kick in the ribs/And I can tell you, “Honey”/” You’re gonna be alright”/And I can tell you, “Baby”/”It’s gonna be alright.” The song’s chorus finds Santos’ subject asking the woman if she ever finds herself asking why he is always there for her. So in reality, it is both a breakup song and a love song in one, it would appear. Keeping that seeming theme in mind, it is another interesting way for the band to take on an all too familiar theme. It is more proof of what makes the album’s lyrical content important to its overall presentation.
The band also pays tribute to a woman with a unique love song of sorts in the album’s closer, ‘Wisteria (Bloom).’ From the mention of remaining steadfast through the winter months (metaphorical language for difficult times) to the mention of the woman in question only seeing what others see in her (dealing with personal emotions perhaps?), the song’s lyrical theme takes another intriguing turn here as it takes on what feels like another familiar theme. Between this seeming theme, the others addressed here and the remaining lyrical material, the whole of the album’s lyrical content adds to the reason for listeners to give Annum a chance.
The overall content featured throughout Annum is in itself reason enough for audiences to take in the record at least once. It is only part of what makes the album of interest. As previously noted, the sound of the album’s musical content is largely comparable to works from Spock’s Beard. Even down to certain vocal effects, that similarity is present. That is due to the production of that content. The vocals and instrumentation are relatively well-balanced therein, too. That is, again, due to the work put in behind the glass on this record. The subtlety in the vocal performance compliments those of the instrumentation in each song thanks to that attention to detail. The overall impact of the production is a positive aesthetic for the record’s production. That positive impact pairs with the interest generated by the album’s overall content to make that much clearer why the album deserves to be heard and an interesting addition to this year’s field of new independent albums.
Annum, the debut album from A Doll’s House, is an intriguing presentation from the independent rock band. Having been decades in the making it proves itself a debut that is worth hearing at least once. That is due in large part to its featured musical arrangements. The musical arrangements are of interest in that even unintentionally, they are so similar in sound and style to works from prog-rock outfit Spock’s Beard. This is especially interesting considering A Doll’s House is not a progressive rock band. The lyrical themes that accompany the album’s musical arrangements are also of note because of their familiarity and unique fashion of delivery. The record’s production rounds out its most important elements and gives the presentation a positive aesthetic that works with the content to complete the record’s presentation. Each item examined here is important in its own way to the whole of the album’s presentation. All things considered they make Annum an interesting, enjoyable addition to this year’s field of new independent albums.
Annum is available now. More information on the album is available along with all of A Doll’s House’s news at:
Website: https://adollshousemusic.com
Facebook: https://www.facebook.com/adollshouseband
Twitter: https://twitter.com/adollshouseband
