Raw, mysterious and thoroughly entrancing. Eugene McGuinness versus The Universe is a mellow, melodic, masterful mélange of sweet off-kilter pop

A RETURN TO PLAYFULNESS, RAWNESS AND MYSTERIOUS OFF-KILTER POP

London-born Eugene McGuinness believed that his music career was over.  After the release of his 4^th album,Chroma, in 2014, his deal with Domino Records ended – and he thought that was that.  In fact, his career was far from over and, more than a decade on from that crisis of confidence, Eugene is ready to go again.  And his new album, Eugene McGuinness versus The Universe, has been well worth the wait.

Of Irish heritage, the idiosyncratic McGuinness began crafting songs during his teenage years.  His debut EP – The Early Learnings of Eugene McGuinness – was released in 2007 and a string of albums followed.  Eugene’s most recent offering was the self-released Suburban Gothic, in 2018.

A joint release from Liverpool labels, Docklands Speed Shop and Mellowtone Records, Eugene McGuinness versus The Universe marks a return to the playfulness, rawness and mysterious off-kilter pop of Eugene’s early work.  His songs are beautifully melodic, yet they seldom head in the direction that musical instinct prescribes.  If I was to draw any parallels to the music on offer here, I’d suggest that fans of David Bowie’s early output – Hunky Dory or The Man Who Sold the World – might take particular pleasure from Eugene McGuinness versus The Universe.

COSMIC VOYAGE

The album’s ten songs are all Eugene’s own work, and he plays a plethora of instruments including guitars, banjo, drums, percussion and keyboards, on the album.  He has help from a group of friends – Ryan Watts (bass, lap steel, Wurlitzer, synths), Matthew Phillips (strings, drums and mellotron), Gajo Paco (drum machine, synths, lap steel, guitar, harmonica and percussion), Joe McMonigle (drums), The Kambourines (backing vocals and percussion) and Brita Adrienne Grov (backing vocals). 

A slow fade-in leads to a truly mellow blend of soft acoustic guitar and dreamy vocals, as opening track, Meteor Man, gets underway.  Eugene takes his listeners on a cosmic voyage across “The black galactic skyway” with lyrics that are, simultaneously, both at odds and in remarkable harmony with his gentle music.

YOU’VE STUNG ME…

It’s getting on for a year since lead single, Seascape, served advance notice of what we might expect from Eugene McGuinness versus The Universe.  It’s a song that’s matured satisfyingly over the intervening months continuing the laid-back aura established by Meteor Man.  Conceived in the North of Ireland and, in Eugene’s words, exploring: “…the yearning to feel something – awareness, presence, when, most of the time, you’re too busy to feel anything at all.”  Acoustic guitar, violins and piano lead the way and, with lines like: “The sky is in the ocean, and I can see the ocean crashing in your eyes,” Eugene’s lyrics are poetic and highly evocative.

Eugene was born and raised in London, and he still lives there, but it’s not a place that he’d ever call “home.”  Indeed, the emotions he expresses in London, Eugene’s lament to his city of residence, are of a decidedly mixed nature.  Lines like: “London, I love you, but you’ve stung me.  And you only want me for my money,” will resonate strongly with many listeners, without doubt.  The song was the second single to preview the album and it’s melodic and meaningful, with a comfortable jazzy feel.  And the lap steel coda is a sheer delight!

IMPROVES WITH EVERY LISTEN…

There’s a mystical air to the sweet, haunting If You Say So.  Matthew Phillips’ string arrangement is smooth and satisfying, which makes the shock of hearing Eugene ask: “What the f*ck do you know, anyway?” all the more acute.  In contrast, the accompaniment is pared right back to just an acoustic guitar for the folky From the Bridge – the variation works perfectly. 

We’ve already expressed our admiration for Icarus, the album’s most recent single, within these pages and we can confirm now that it’s another song that seems to improve with every listen.  The late 60’s blend of folk and psychedelia is particularly pronounced; the strummed acoustic guitars underpinned by howls of ghostly violin.  It’s a true album highlight.  And with its driving Tusk drum rhythm, sparkling synths and glistening vocal harmonies, Eastend Requiem is another standout track, a song that comfortably occupies the middle ground between music hall and an outer, experimental, musical frontier.

GOSPEL TERRITORY

Eugene becomes a balladeer for the short-yet-interesting Drag; his croons given substance by some wonderful vocal harmonies, before we head into gospel territory for the anthemic There’s Always Next Time.  Perhaps the centrepiece of the entire album, it’s a song that builds satisfying as Eugene delivers a cascade of messages, including: “There’s always a next time, until there ain’t” and “There are none so blind as them that don’t want to see.”

An air of resignation dominates Warped Tapes, the album’s closing track.  Eugene’s voice is upfront and intimate, as he advocates casting points of conflict aside with lyrics like: “Hey – what you say we rewind these warped tapes.”  The backing is, once again, pared-back – it’s just a strummed electric guitar this time – which helps get the message across.  It’s an effective closer to an excellent, thoroughly absorbing album.

Watch Eugene and his band perform London and Seascape – two of the tracks from the album – live at Liverpool’s Speed Shop Studio – below:

Eugene McGuinness: Bandcamp

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