David Powell And The Speekers – Touch Wood

David Powell And The Speekers – Touch Wood – Album Review

I was highly pleased to find this new record from David Powell And The Speekers began with something highly creative & artistically innovative…because that’s how I remember this project to be from the last time I reviewed their music on the album Love back in 2022.  Right from the get-go on the title track from the album, you’ll hear a sweet mixture of playfulness & professionalism that accompanies the hybrid style & sound.  You’ve got children’s voices on “Touch Wood,” followed by a more AI-esque type of Spoken Word that actually sounds warmer & friendlier than you would likely expect.  You’ve got a song that winds its way through its smart synthetic inclusions and inspired analog sounds…it’s all very interesting and engaging from the moment it starts to the moment it ends.  “Touch Wood” has this like, endearing charm and wonder-filled sound to it that is not only entertaining, but thought-provoking in a very dream-like type of way that allows your mind to wander along with it.  Creating a sensory style of sound that will have you seeing pictures like you’re looking through one of those old viewfinders and flipping through your memories “from before the days were named” – I love what you’ll find on this first track.  With the way the guitar shimmers & sparkles into the song with such purpose and consideration, “Touch Wood” ends up feeling like it shares the same kind of emotional threads you’d find in the music like you’d get out of listening to something like Explosions In The Sky in their most delicate moments.

David Powell And The Speekers chooses to test me early though…and they’re taking the toughest of exams.  I have two bands at the very top of my favorites that have not been knocked out of their place since I first started listening to music – R.E.M., and the Cure…both of which, incidentally, have been around for as long as I have been.  With that in mind…it’ll have to be taken into account the natural bias I have in examining anybody that would dare cover the original source material, like David Powell And The Speekers does with The Cure’s “Lovesong” as the second track in this set.  What do I think?  Oh boy.  Look…I’m gonna be the last person on Earth that’ll ever claim ‘the original is ALWAYS better’ than a cover, because I have functional ears & an objective opinion, and I’ve heard that sentiment proven wrong more times than I can count at this point in my career.  So while that still might be true when it comes to this particular instance given how I feel about The Cure, don’t get it twisted – covers are great in my opinion and I genuinely always look forward to hearing someone else’s interpretation of a song.  I also think that, there are some tunes you’ll find in life – “Lovesong” being one of them – that essentially cannot be tarnished, because the writing is literally that damn bulletproof.  No matter how they get remixed, twisted up, and morphed into something new, these special songs retain a magic that simply cannot be dulled enough to their detriment.  So in that sense, do I like this new version of “Lovesong?”  Of course I’d have to say yes in that respect, right?  Do I love it?  No.  It’s tougher to have the inherent emotion of Smith’s singing replaced by a colder robotic Spoken Word for myself personally.  The pace of the song is also slowed slightly as well, which seems to pull some of the spark out of it as well.  It’s again like hearing what you’d think AI would churn out if it was to be prompted to make a cover of “Lovesong” – it draws on the song we’ve cherished for years, but the crucial human connection feels entirely absent.

Oddly enough, it’s not like I feel the way that David Powell And The Speekers use this Spoken Word style of vocals isn’t capable of eliciting emotion – it absolutely can, which is proven right away by the joyous cut that comes next on the record, called “(I Wanna Be) Your Melody.”  Again, take all my comments on “Lovesong” with the proverbial grain of salt…I’m as objective as I can be, but that’s also material closer to my heart than most I’ll ever come across.  Untethered to that, I found it so extremely easy to fall in love with “(I Wanna Be) Your Melody” as the audibly inspired spark returned to Touch Wood.  There’s so much of an unspoken thread of a dreamer’s vibe & humble hopeful optimism in so much of what you’ll find in David Powell And The Speekers that’s so incredibly hard to describe.  It’s a sensory thing that you feel so much more than you can put into words, and “(I Wanna Be) Your Melody” is a prime example of how this oddly artistic project can create such an extremely sincere & endearing sound.  I’m nothing but impressed with this song & felt like it was the rebound that Touch Wood really needed early in its lineup.

“Cotton And Coal” – that’s kind of a metaphor for what we’re listening to, ain’t it?  I chuckled to myself a little as I listened to this fourth song on my first spin and the voice of David Powell And The Speekers continued to do what it does…I know that it appeals to me in the weirdest of ways, but I can certainly recognize that it would prove to be a massive obstacle for so many of the casual music fans out there.  Even I’d tell you that in this instance, it’s a little tougher of a set-list on Touch Wood than what I remember Love being like, though admittedly it’s been a while since I heard that record and it was also my first impression of what David Powell And The Speekers sounded like overall.  It feels like this album is playing on two significantly pronounced styles of sound and emotions, with two distinct approaches & energy that come along with’em.  So you’ve got tracks like “Touch Wood” and “(I Wanna Be) Your Melody” that feel uplifting to listen to, and tracks like “Lovesong” and “Cotton And Coal” that deal with more melancholic & moody atmospheres.  Obviously variety can be a good thing when it comes to the art of making a record, but I’d also understand if some folks felt like Touch Wood plays like a car would run if it had square wheels, in terms of its balance, you know what I mean?  You get some moments where things move smoothly, and other spots where you feel that uphill battle to get to that next part that’s easily accessible to your ears.  There’s lots I still enjoy about “Cotton And Coal” – I dig the poetic approach to the lyricism, and I really do love a whole lot of the music within this particular song as well – I think it’s more of a question about whether or not the lineup of the material is set up to create success.  That’s where I think we’ve still got some lingering questions and keep wondering if everything belongs.

For myself personally, I felt like the lyricism of “Second Nature” was its standout element.  I’m not even suggesting that I necessarily like what’s written there better than what we experience in the first three originals in the four songs prior…I think it’s more of a comment on the rest feeling like it was missing the wow-factor it needed.  I’ll admit from the moment the bass-line started in this song it was like a feeling of dread with every passing note…like I was sitting here going, ‘no…don’t just do what I think you’re going to do next,’ and hearing that it did in a very predictable & familiar pattern we’ve all heard in some way, shape, or form throughout music’s history.  It wouldn’t usually be such an issue – parts get recycled and repeated all the time in music & that’s fine – but with the bass being such a pronounced part of “Second Nature” it felt like that familiarity took a lot of the wind out of this track’s sails.  There are other elements that I really do enjoy, like the synthetic horns in this song & the distance they have in the mix, sounding like they’re way far away from the rest, almost like we’re imagining them being there – that’s honestly really cool.  I dig the sound of the drums…the way the guitars chime in to provide the melody…I feel like there are good things to be found here, and aspects of this track that were way more deserving of the spotlight than what we hear in the bass.  Could just be my take on it…you get to be the judge and jury of course…but yeah…that had me coming back to the lyricism, which was comprised of some very interesting choices in the word selection & quite often featured a single word for a full line of its verse.

There are multiple points where the lyrics will make a noticeable impression on you, or stimulate your mind in a thought-provoking ways.  Sometimes it’s the use of smart effects to enhance the meaning or drive home the point as well, like when you hear the line “we live with blind spots and echo chambers” in “Personal Algorithm,” for example.  It also seems like a great moment to bring up the fact that this whole album has been tuned to the infamous 432hz as well…which I personally feel like is a wonderful example of how blind spots and echo chambers permeate the strangest of places, because I still can’t believe this is a thing that people do and have yet to find an argument that it accomplishes what the goals are for the 432hz crowd.  I appreciate where every single one of them are coming from, and I admire the sentiment…but I don’t think anyone out there can talk me outta the fact that ALL music can establish the kind of healing, catharsis, meditation, and emotion we’re seeking out, regardless of whatever hertz it is played in.  I think the idea very sweet at the root of its intentions, of course, but I have yet to have the kind of substantial experience with 432hz that proves the theories behind it correct.  If you have, and it speaks to you, don’t get me wrong, you’ll get nothing but a high five from me because while I truly do not think that it matters whatsoever, it’d be weird for me to take a hard stance against what someone else enjoys – but yeah…I don’t personally feel like it makes any kind of difference, and feels very much like a concept someone once threw out there that others have taken as a form of undeniable truth.  Maybe one day I’ll see the light, who knows?  For now I remain skeptical.  I do however, enjoy the contemplative sound of “Personal Algorithm” and feel like it’s the kind of song that does in fact possess the kind of structure & repetition that can be very meditative in its own reflective way.  All-in-all, it’s also got one of my favorite mixes when it comes to its overall production as well.

I also think that the use of effects can provide an advantage to David Powell And The Speekers, because it can be really tough to use the Spoken Word approach they’re using and bring enough diversity to it, so doing anything to give it a little versatility ends up going a long, long way.  My concern would be that I know the average everyday listener is going to struggle with not tuning out the voice altogether, but I still hope that’s not the case.  The reality of my experiences has taught me that anything less than what a person can sing along with in their car on their way to the 9-5, generally has a very hard time finding the audience it’s seeking out…but I always hope that one day that won’t be the case.  Time always tells the full story, and at the end of the day, the only people David Powell And The Speekers need to please are in David Powell And The Speekers…the rest of us are just a bonus if we connect with the material.  I like “Soil And Soul” – it seems to kind of draw on a similar construct to how “Cotton And Coal” was designed earlier on in the set, but I do feel like there are more tangible hooks in both the vocals and music that lend themselves to a higher degree of accessibility that listeners have a chance of absorbing.  I also like the philosophical aspect that the lyricism that you’ll find at the core of this song too, which has been fairly constant throughout the set-list on Touch Wood overall really.  Some tunes bring that quality out a little more noticeably, and even though the words are used sparingly, you can hear the presence it has on “Soil And Soul.”  So again, not to harp on the point, but is it the lyricism that creates the kind of mental stimulation we receive in listening to this track, or should we simply give all the credit to the 432hz tuning?  You see what I’m saying?  I think writing things off as 432hz-induced takes away some of the power that musicians and artists have in creating what they create in some many of the other areas.

One of the better examples of diversity in the material and how versatility makes a difference would be found in the uniqueness of “Psychonaut.”  In this particular instance, I’m not gonna be the guy to claim that leads David Powell And The Speekers to a higher degree of accessibility, because I don’t think that’s the case – but I do think that this is a significant win for the artistic element of their sound.  Lyrically, this all seems like it comes straight out of a spiritual self-help book, but I’m cool with that…it’s calming, it’s intentions are good, and it again draws on largely philosophical concepts you can find relatable in many ways.  I also loved the additional samples of chatter that are scattered throughout this song, the textures and tones you’ll find in the instrumentation, the sound of the drums…heck, I even liked the way the bass was threaded into this tune as well, even though it’s still not doing anything all that impressive.  Sometimes simplicity can yield extraordinary results…I’d readily acknowledge that…and I feel like that’s what you get outta the bass on this tune – for as uncomplicated as it may be, it’s still a perfect fit.  I also think that the work on the vocals was a critical reason to tune into this song…it’s way different than the vast majority of the lineup, and having the other layer of samples & whatnot in the distance of the background was another smart decision that gives our ears a whole range of stuff to explore.  Overall, I’d probably be inclined to tell ya that “Psychonaut” would be right up there with my favorites on the album, and quite likely my favorite track outside of what I enjoyed most in the very first three tunes.

Between “Psychonaut” and the last track “Melt The Bells,” the ending of Touch Wood finds significant strengths that will likely convince you to go for another spin or two.  Musically, “Melt The Bells” sounds instantly impressive, and the more straightforward design it has with its piano-based melody is sure to be welcome to a whole bunch of listeners out there.  It goes on to switch things up and shift into the kind of multi-dimensional design you’d expect to find from David Powell And The Speekers as it plays on, but I think for the most part, it works.  I’m gonna caution the mix again…think of it like this – you want our ears to give their attention to where it’s deserved, right?  I’ll put it to you this way…our ears end up on the bass here again on “Melt The Bells” as a result of where it sits in the mix – and there’s not a single element of this song that doesn’t deserve our attention MORE.  Everything else in the music is doing something way more engaging and interesting, yet we’ve gotta fight to get to it because the bass is as pronounced in the mix as it is.  Aside from that, I’ve got no real substantial complaints with “Melt The Bells” – but make no mistake, it’s an important observation.  It’s the rest of the ingredients involved that make this last track as cool as it is, and it’s very much because I’m the kind of person with a job of examining songs up close that I can hear all that great stuff goin’ on…the average everyday listener is going to hear a fairly plodding & simple bass line carrying all the weight when it should be all the other exotic and extraordinary ideas in the music that are making the impact & lasting impressions they could.  Not bad overall though…”Melt The Bells” is still a good tune to finish off the third record from David Powell And The Speekers, and there’s definitely enough in this lineup that worked out well to encourage them to continue forward from here.  Lean into the diversity, remember where to focus the attention of our ears the most, and keep the versatility of the vocals as a consistent priority…I think if David Powell And The Speekers continues to do that, the audience for music like this will keep expanding & growing.

Find out more about David Powell And The Speekers from the official website at:  https://davidpowellandthespeekers.com

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