Genre: Darkpop

01 A Man Needs A Man Friend (1:59)
02 The Ballad Of Bob Crane (5:26)
03 The Curious Pediatrician (3:05)
04 Game Warden (4:18)
05 Teddy Bear Laser Speculum (2:34)
06 First Time Offender (Prequel To Altar Boy) (2:17)
07 Seizure Dream Believer (3:50)
08 The Girl From The D'n D (1:30)
09 The Need For Less Sex In The World (3:36)
10 Grey Balloon Masquerading (2:34)
11 Stalag 69 (2:20)
12 The Unbearably Important Lightness Of Being Earnest (3:07)
13 Carmina Melanoma (2:34)
14 10048 (4:44)
15 Improvisation On A Very Sad Theme (4:06)

In that melancholic place where gothic rock, dark folk and crooning unite is where you will find David E. Williams. Each of the stories that unfold through his words is full of irony, and a sad confrontation with reality. The situations of every day life under an honest view, given over in a desperation that has grown flavorless by its quotidianity. 'A man need a Man friend' opens with a false brightness, the overlapping notes of the synthesizers create a fountain of melodies that accompany the brief singing. An 'overture' for 'Hope Springs a Turtle'.

'The Ballad of Bob Crane' is a bard work where the modulating voice is the main melodic line. It pulls in notes from the piano, more and more at a time, with a little more gloom every time. When the voice is gone, what remains is a dark sound that fades away until it is buried - and slowly springs again, until it explodes back into the song for the ending words. 'The Curious Pediatrician' follows it, with a work that revolves much more around the bases, percussion and strong melody riffs. The dark, apocalyptic tunes stay at bay when the voice comes in, just to then tear back in and accompany the singing. The melodies, especially in the chorus, are easy and catchy, however, the voice is free in its singing to make as many variations as it wills. Violins and phone's crashing are the beginning of 'Game Warden'. This song has a very dark musical feeling to it, swaying from the base lines into the arrangements and the voice that is placed exactly in the middle. The frail dissonance between the main melody and the industrial sounds overlapping gives the songs a twisted sound, which David's voice takes into a somber pseudo-cabaret world.

Mr. Williams songs are not tied by a song structure, they are free stories that are caught by a voice and sung into the vastness of musical possibilities. The lyrics are the main line, and the lyric defender is nothing other than the voice. The music is there to accommodate and make company. Preferably to express better, and sometimes, to underline.

The veiled anger in the postindustrial sound of 'Teddy Bear Laser Speculum' collides with the beauty in the notes from 'First Time Offender (prequel to Altar Boy)'. The ballad is so full of longing and sadness, the horror that it expresses almost remains in a second plane... almost. 'Seizure Dream Believer' opens with mid paced bases with beautiful guitar notes and longing synthesizers. The singing starts and with it, the birth of another story, and the music reacts to it: it grows darker and denser and ends pulsating into silence. It is followed by 'The Girl from the D'n D', with a very interesting work of intertwining chimes, bells and notes when a melody takes over that will end abruptly, without a possibility of expanding, in nothingness. A simple piano opens 'The Need for less sex in the world'. When the voice starts its singing, the notes are filled with dissonance, a base line appears and dark chords fill up the background. With a dark pop touch 'Grey Balloon Masquerading' surrounds with guitar notes the variations in singing. In a blink there is suddenly synthesizer notes filling the song, giving it a much more dark wave and gothic aspect - without loosing its freedom and progressiveness. Another ballad grows with the start of 'Stalag 69'. The notes grow larger and larger until many different instruments awake, create a web of simple beauty and dissipate. 'The Unbearably Important Lightness of being earnest' has a merry-go-round feeling to it, offering a special irony tot he song. It is not empty of sadness, however; the dark atmosphere that grows thorough the song keep the tune filled with grief. A fairytale unfolds in 'Carmina Melanoma', a lullaby that gets filled with frenzy and madness. The last songs are dedicated only to the music. '10048' is overflowing with screeching and claustrophobia. 'Improvisation on a very sad theme' presents what its title anticipates: a simple melody that transforms over and over again, swells and stretches, only to return to the same place.

Only some elements are needed to make a masterpiece: talent, a few instruments that can be used in many different ways, and a simple voice full of sober tales. Drugs, actions, new, stories, reality. David E.Williams is a troubadour of his time. He is the speaker of truth and the teller of stories. After all, there is no fantasy that can be worse than the depravity of reality. 'Hope Spring a Turtle' unfolds the abomination of our time with a mixture of beauty and horror. The corruption we have created overwhelms us into a terrible despair, into a note of longing and hope. When the record ends, the music is stopped. And you are thrust back into life and oblivion, again.