UnknownComponent

On Campus Review  March 2008

‘Separately Connected’

By Amy Jacobus

         The UI’s Vocal majors will cringe when they hear the first track of Unknown Component’s latest independent release ‘Separately Connected’. As they should. “Under The Gun” unabashedly exposes lead singer Keith Lynch’s strained vocal stylings, his voice resolutely whiny even when boasting of fearlessness. But should on judge musical quality solely by evidence of extensive vocal training? If this is the decisive factor in defining praiseworthy music, we might as well chuck all the world’s Bob Dylan and Britney Spears albums out the window of the nearest skyscraper.

           Before sentencing ‘Separately Connected’ to a four-story freefall, really listen to the contrasts between voice and instrumentation. Nothing spectacular individually, but when combined, these elements establish a distinct and provocative sound.

            The New York Times’ Kelefa Sanneh noted the appeal of incompetent crooning in January of 2004 when he wrote, “Bad singing can create a seductive illusion of intimacy.” Lynch’s overwrought vocals do the opposite, creating a distancing effect that is oddly satisfying for the listener.

            The distance between singer and listener is exceedingly evident in songs like “Alone With Your Mistakes” and “The Jury,” the divide mysterious and fascinating. Whether this is the product of poor quality recording equipment or a pre-planned mystique doesn’t matter. It works. “Alone” is a standout. Defiant echoes merge with the puzzling of an individual lost at the keyboard. It’s a soundtrack for confusion itself.

             Any depth of emotion or intellectual awakenings stem from experiencing the remarkable contrast between Lynch’s grating voice and the generally catchy, upbeat instrumentation. Many of Unknown Component’s lyrics seem mindless when written out (There’s nothing you can do/ nothing left to prove/ in another time/ things will be just fine) but gain depth with the melodius intervention of Lynch’s arrangement and the rough texture of his aching voice.

              The most appealing aspect of ‘Separately Connected’ is the relationship between singing and instrumental composition. In “Everything You Know,” the keyboards strike chords reminiscent of the welcoming sounds of the organ at Mass. The guitar harmonizes sweetly with the church-like chords and the percussion fades into the background. The composition is relatively inconspicuous without the obtrusive singing layered into the mix. “Ulterior Motive” finds a way to cushion Lynch’s thorny vocals within the buoyancy of the guitar. The title track uses layering techniques that make his voice even more perplexing.

                By track five, the listener is adapting to the vocal tone, and by track eleven, the tense pitches will no longer send the accomplished singer running for ear plugs.

                Some songs, like “The Truth of Telling Lies,” implore the listener to grab the end of a metrical rope in order to drag them along. After about a minute, however, the body’s rhythms become accustomed to the sluggishness of the melody and the tempo seems valid. It’s as though the musician is challenging the listener to seek comfort in unfamiliar places.

               The final lyrics of the album’s last track express an ambivalence that characterizes the often conflicting relationship between harsh vocals and concordant instrumentation. “I don’t think I wanna be like you,” the vocals declare to the rest of the arrangement.

                Good thing. A sugary cookie-cutter singer would have been a dull and predictable ingredient in this musician’s endeavor.

                 ‘Separately Connected’ is available for sale through Unknown Component’s Myspace music profile and at www.unknowncomponent.com