Brendan Staunton proves with his album Last of the Light, contrary to conventional wisdom, you can sometimes go home again. The nine song release is Staunton’s first in three decades and marks a culmination of sorts in his life’s journey. There are, without question, further twists and hairpin curves lying ahead for Staunton, as there are for all of us, but Last of the Light will stand for the rest of his days as a pivotal moment when Staunton recovered the magic of his bygone youth and re-established connections with his artistic vision. There are numerous retro touches adorning these songs, but these compositions are far from butterflies pinned under glass. Staunton has achieved a rare feat – writing and recording a collection of songs recalling a musical style now long and lamentably out of commercial favor yet capable of entrancing even the most jaded of musical devotees.
The opener “We Don’t Talk About It” comes from a place of deep maturity streaked with melancholic color. It begins with tasteful keyboard touches before segueing into the main body of the track. It has a mellow, low-key vibe and Staunton’s voice strikes the right emotional note without ever lapsing into overwrought histrionics. “River” has another measured and penetrating lyric with genuine literary merit and continues elaborating on the musical mood established with the first song. An irrepressible groove further strengthens the performance, but the way its simmering demeanor never comes to a full boil will likely be what stays with listeners musically.
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He turns in another gem with “Stop Believing”. It is a plaintive and uncluttered reflection on a failing relationship running out of time; Staunton does a fantastic job dramatizing the pain rife throughout its lyrics. The gossamer sweep of its acoustic guitar and light percussion carries listeners along with style and his vocal mitigates the despair rooted deep in the song’s point of view. Staunton’s voice inhabits the lyrics with palpable emotion and a velvet smooth delivery.
“Nine Day Wonder” begins with the wonderful couplet “ You only have so long/the moonlight’s not forever” and expands on that promise as the song progresses. It is one of the most compelling examples of the songwriting excellence fueling this release.
The piano fleshing out the spartan grace of “Underwater” is superb. It deepens the song’s meditative spirit and pairs well with another top shelf Staunton vocal. Another key strength of Last of the Light is the unwavering focus Brendan Staunton brings to these compositions and many listeners will appreciate their utter lack of wasted motion. The finale “A Girl” approaches the six minute mark but there isn’t a second of filler. Staunton unveils a different side of his musical pedigree and increases the presence of electronic instrumentation in the song. It never feels like a jarring departure, however, despite this stylistic turn. Last of the Light burns bright with white hot artistry despite how relaxed it sounds and the craftsmanship is impeccable without ever coming across as calculated. Brendan Staunton’s return to the music world rates as an unqualified success.
Jodi Marxbury