Sinombré Vol I All Hope Is Gone
With the Sinombré series Paul draws from current events to create one of the most solid and satisfying periods of his musical career to date. What was intended as a "what if?" has quickly became a reflection of the real world with almost frightening accuracy.
The world of Sinombré is a conceptual one, set in a not too distant dystopian future. As society threatens to collapse around us, Miro gives us a set of songs that feel like they've been lifted directly from a cinematic masterpiece.
Miro creates a deep, majestic sonic palette that is prefect for big speakers and headphones alike. Songs like "All Hope Is Gone" and "Nest Of Vipers" build in tone and feeling while giving you enough space for Paul's voice to wrap it's way around your brain. "Night Fall" and "Fall From Grace" take a narrative feel as the songs channel the spirit of Tom Waits. The album draws it's influences from many different sources, creating a world of depth ready to be explored by the listener.
Characters are ready to tell you their tales of woe over a wash of reverb soaked guitars and vocal harmonies, each one taking themes (conceptually and musically) and weaving them into the album's narrative. With "All Hope Is Gone" we're treated to a warning sermon for the end of days, Miro leading his songs for troubled times to see us through the dark night's ahead.
Sometimes You Get, Sometimes You Get Got
Miro’s brand new album, Sometimes You Get, Sometimes You Get Got (SYG,SYGG), sees him stepping up into another gear altogether. It bursts open with a wall of guitars and a stack of vocals wide enough to fill a stadium, into a powerhouse rock anthem, Guinea Pigs, which will leave many wondering if they are in fact listening to AP&S. Next comes the album’s title track – a Telecaster & brass-driven Motown stomp with one of those annoying Miro choruses that you will find stuck in your head. Miro takes a journey through a range of styles – from the driving-in-an-open-topped-car radio friendliness of Your Only One, into the Latin-tinged hypnotic epic Esperando un Milagro, the beach bum fun of Hideaway, the dark New York sleaze of Hangin’ Around, with more healthy doses of rock and his unique 21st century take on Motown, finishing with the baritone brilliance of Carry On.
Miro manages somehow to combine a sense of familiarity, consistently turning cogent lyrical phrases, whilst keeping the content suspiciously absent of cliché. The central sound is guitars and vocals layered to the point of irrationality. It is without doubt Miro’s finest piece of production to date, with his incredible voice sounding better than it ever has. Consistency, it is said, is the refuge of the unimaginative. Miro’s music is always full of surprises and reveals more with each listen. If he can be accused of consistency, it is only insofar as he continues to get better.
Paul’s second solo album B.O.A.T.S. isn’t just now, it’s a future-looking retooled soundscape that is arguably Miro’s most impressive collection of songs – and direction – to date. From the effortless, infectious road trip singalong of ‘Bad, Bad Day’ through to stunning A cappella epilogue ‘Bring Out Your Dead’, B.O.A.T.S. cruises along with beautifully crafted melodies and compelling lyrics, taking in unexpected waters and moods along the way. The destined-to-be-a-hit wry grin of ‘SSDD’ gets inside your head after the first chorus and doesn’t care that its loveably sarcastic call to arms will have you sneering at your idiotic boss at the office, while the earnest and rousing love song ‘Ask Anyone’ reminds you what the big ‘L’ is really all about.Incidentally, the acronym of the title stands for ‘Based on a True Story’.
From the trip-hop massage of ‘Roll On Saturday’ through to the athletic, multi-layered harmonies that kick-start the summer fizz of ‘Empty Head’, you will be both surprised and delighted with the breezy but poignant pop river that runs throughout Earthly Powers.
