LUKAS FRANK OF STOREFRONT CHURCH
Inspiration can take shape in many forms. Quite literally in some cases as the new album by Lukas Frank encapsulates. The subject matter derives from a missing relative, real in every sense of the word but mysterious in their disappearance. Haunting echoes of the man and myth surround the entire premise of the album as Frank’s dream state interpretations permeate the subject matter throughout. An orchestral masterpiece that melds with Frank’s spellbinding performance fusing both musical worlds and the doors of perception.
Blending fact with fiction and real-world tales of family history with imaginary hallucinations, the world of Lukas Frank is represented in Ink & Oil. Exploring his childhood past and teasing through mysterious family relations, the culmination of the two speak harmoniously much like the musical formation of the album. Frank and his band plus that of a live orchestra, come together to produce a startling body of work. One that is as cinematic as it is atmospheric. No small wonder considering Frank’s previous work in the film and television industry having worked on scores and production. Bringing these strengths to bear on his latest record, he sets a formidable tone as a commanding musician who knows exactly how to extract every drop of emotive energy out of each note and lyric.
No finer example of that prowess can be found than that of the opener ‘The High Room’. Stratospheric strings and steady percussion part the waters before Frank strides commandingly to the fore. His vocals immediately announce himself and his intentions. The poetic and sermon-like delivery effortlessly sweeps low before transcending to great heights as the orchestral strings flutter and quiver all around him as the captivating tale unfolds.
With sumptuous strings, ‘Faith in Oil’ circles high amongst an updraft of Frank’s vocals, tethered only by a solid anchor of drums and bass. ‘Melting Mirror’ on the other hand takes a down step. Pensive and lamenting, it wanders much in the same way as the character Frank describes. Moving in and out of the shadow play, the seemingly encouraging progress is tempered by a fundamental and inescapable pull of emotional gravity that cannot be surpassed.
Slinking into view ‘King on the Lobby’ with its smooth basslines, classic drums, and sweeping strings all gather around Frank. Crooning to a ghostly audience, the grand ol’ piece is the flaking paint on the wall, the faded furnishings, and the sun-bleached paint of former glory. A devilish trick of Frank’s is his ability to turn a horrid moment into one that seems triumphant and ‘Burn the Roses’ embodies this so well. Taking the breakdown of a relationship and the overtly euphoric sounds of joy and resilience to in fact belie the undertones of fragility and acceptance of loss.
A single key played over and over is the backdrop to ‘Words in the Rind’ as Frank sets the scene with vivid imagery. A story of personal significance born out of family history, the tale reverberates throughout his life, and the track as hefty drums drive home the sincerity of Frank’s experience. When ‘Coal’ takes charge, it is as if the lunatics have taken over the asylum. Cello and violins plucked to within an inch of their life, the jarring sounds lead one down a dark path. Destination unknown, the wayward piece slips into moments of ecstasy before again descending into lunacy.
The skin-crawling, eerie intro of ‘Manhattan Project’ is the audible partner to a visually climatic and pending danger. From the broad and cataclysmic through to the subtle and insular. The bipolar track attempts to express those wild and erratic thoughts Frank has experienced as he now passes them through the cathartic filter of music to release the inner demons he has been locked in a titanic battle with. Similarly, ‘Orange Grove’ with its brooding background casts a dark shadow against Frank’s light vocals. The disparate blend is united by a wonderful string section as a marching procession continues unabated.
The comparatively sedate ‘Divine Distraction’ is an exhausted Frank. Placing one foot in front of the other, solitary beats keep him company as his long walk whilst carrying a heavy burden is a slow and thankless task.
Stripped back to the most elemental basics, ‘Shadowboxing’ is simply piano and vocals. Threadbare and aching, the quiet corner of Frank's world is lightly exposed. A tale of despair and painful repetition delicately expressed and masterfully composed.
Sounding exactly like its namesake ‘Tapping On The Glass’ begins just like the title suggests. A pitter-patter on the ivory ushers in a haunting trumpet. Building incrementally, the ascending sounds forewarn Frank’s plea. His narrative rolls on as the piece begins to unfurl. Harnessing the full might of its orchestral backing, the song is a truly exquisite track. From its soaring strings to the warm embrace of the church organ, Frank pulls together every element and every weapon from his sonic arsenal. A fitting way to round off this magnificent album as he flexes his considerable muscle in the most skillful and measured way.
