Beyond its high degree of revivalism, the appeal of an album like "It Calls On Me" is undeniable. The packaging of this comeback from the Boston psych artist is what stands out most – above all, the guitar sound is the crystalline foundation of a backward-looking amalgam, spanning the late Sixties to the early Seventies, with its liquid litanies of a slowed-down reality ("Painted Eye"), its arabesques of bass, electric guitar and flute-synth ("Make Good Time").
As on Martin Courtney's solo debut, the songwriting largely sticks to the bare minimum needed to hold up the sonic scaffolding ("On Your Way"; for "A Place For You" it's really the arrangement that stands out). Worth noting is the Midlake-esque "Falling To Believe", complete with an epic chorus and a guitar solo in full seventies spirit, and the George Harrison-style ballad "Saturday – Sunday".
Overall, given the emphasis on sound, "It Calls On Me" is a classic genre piece, sure to win over fans of contemporary psychedelia, but it still remains within the realm of an "artful copy".
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27/02/2016
This article is an English translation of the original Italian text by Lorenzo Righetto, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.