Louise Aubrie Sings Antonio LP to Life
Antonio, Antonio. Those who are in the know have been hearing about this chap for quite some time, who happens to be the subject of the title of the latest album from Louise Aubrie. We were given glimpses of him in a pair of singles released over the past several months: “Ours” over the summer and “Last” this past spring.
But now he—or should we say it—is here, or rather soon to be, with the October 15 release of Aubrie’s Antonio LP.
This is one of those concept albums that bears a listen to from start to finish. It functions as a novella, a progressive storyline from cut to cut about the machinations, manipulations, and manpower of that gentleman Antonio (on the literal level, at least. Figuratively these songs and their symbolism can go into an array of directions).
Frankly speaking, anyone who scrutinizes this album will have a hard time characterizing Tony as anything other than a scoundrel. That character, mind you, is able to seduce the female character (who Aubrie gives voice to resolutely and with a vocal power that easily takes on, and conquers, all challengers) at least by the second tune, if not the final line of the first. He’s accused of kissing and telling halfway through the LP on “Told”, and by the grand finale on tune No. 10 “Lies” the female character abnegates the entire affair, relationship, and remembrance of the bloke as “it was all lies”.
The thing is, these revelations are delivered over a musical formula that hardly gives one pause for breath. The vast majority of the tunes exceed 100 BPM with heavy dosages of guitar and some of the best bass playing you’ve likely heard in a while on a whole album back to back (thanks to Andy Woodard). Many of them go hardest when it’s simply the drums and the bass. Not surprisingly, Woodard is credited with both of these instruments.
That’s not to suggest that the keys on “Lies” don’t produce the most pleasing of melodies over which Aubrie sings. Nor should it imply that the keys don’t significantly add to the tune on “Told”, or that the amped guitars aren’t delightful in their chords and razzmatazz on damn near every song.
But Aubrie’s bass is moving, likely crowding the dance floors, and she’s singing with all her deftness, might, and intellect, if you can believe that—which is something one must hear to believe.