Pete Gow has all the credentials to burst out from a cult status and take his music into the ears of many far and wide. Those credentials are now boosted by a powerhouse release firing on all cylinders from the opening blast of horns to a reprise that eloquently completes the cycle. LEO puts a strong marker down as one of the most dynamic albums of the year, which reflects a team surmounting new levels of platitude.
This team sees Gow once again hook up with the ultra talented Joe Bennett, who surely cannot have orchestrated an album of such magnitude in the many projects that he has guided to fruition over the years. The winning formula sees the polished organic songwriting acumen of Gow merge with the charismatic blast of horns and succulent strains of a stringed accompaniment to take the listener on an indulgent sonic journey of immense proportion.
This is Gow's third solo release since putting his Case Hardin outfit out to pasture. The choice of eight tracks (expanded to nine with a meaningful reprise of the opener at the end) within a tight forty-five minute template is a blueprint for optimum planning. Each play is a measured treasure trove of exploring nuances popping up from each interlude, chord and lyrical part.
LEO gets it release on Gow's usual label of Clubhouse Records and is a significant directional move in sound. Although as a label, they tend to harness individual talent rather than pioneer a style. The wares of LEO have likely proved a long yearning for Gow even when he was riding the surf of guitar driven alt-country rock in Case Hardin. Yet strip back all the music he has made over the last decade or so and you get a sharp acute songwriter possessing a vocal style that puts his lyrics in clear earshot.
If there was no focal point to the record, the nature of a sparkling entity would project it from the pile. However it is tough to argue against such a point existing in the likely anointed high spot of 'Leonard's Bar' nestled in the slot where album edges into maturity. This is peak Pete Gow songwriting and one to adjust your lyrical antenna to absorb the narrative. The most innovative track on the record is 'This City is a Symphony' largely due to Joe Bennett veering off in weird and wonderful tangents to the extent of getting a songwriting credit.
'Where Else Would We Be Going' heralds the cyclical aspect to the album. Its opening presence catches you totally unaware with a blast of brass in the first sound wave. Its reprise version at the end is a tamer affair with the brass put to bed leaving just Gow's guitar and voice at the start before the subtle additions of keys. A dual slant to a song version that works.
Another aspect that make LEO a fascinating and alluring listen is its constant switch of tempo. This is most prominent within the second track 'Say It With Flowers' and in the general feel of one of the more mellow offerings 'Casino'. Here some shimmering organ takes root and the horns possess a different feel. 'Side III of London Calling' is the most eye catching title and although it is more conventional in reception, a great melody resides within its midst. A key trait of Pete Gow's music in the past.
'Eight Long Hours' and 'Both Sides Are Down' conclude the song selection with the latter positioning itself right at the heart of the album akin to it sizing up as a track most representative of what LEO is all about. A concoction of sounds headed by the horns and strings.
The energy and panache of LEO frames it surfacing as a highly impactful album. It places Pete Gow right in the spotlight, and alongside Joe Bennett, a clear force in what cultured independent music can achieve in this country. Context is always a sweet coating to how a record plays out, but this release requires no extra encouragement other than its presence in the here and now.
