When I first read about Steve Smyth the article suggested similarities to Freddie Mercury. Naturally, this set up somewhat of an expectation or preconception if you will. When I heard him, however, the comparison seemed rather incongruous, even confusing.

Steve, however, like Freddie, does have an enormous vocal range; both in timbre and register. The theatricality with which he at times presents his voice may also be comparable, though only tenuously, to Mercury. To me, Smyth’s lower, husky range presents more like Louis Armstrong or a devilish Tom Waits. As for his at times angelic highs; I have no comparison. This is all rather subjective of course and others may agree with others assessments. Nonetheless, I find myself trying to hear Freddie, but with no luck.

“Barbiturate Cowboy and His Dark Horses” instantly paints a picture of the desert that Smyth admits had a great influence on the songs featured on Release. Somehow he manages to work the title of the song into the chorus with enormous tact and wit. This is one of those rare openers that will remain a firm favourite. “A Hopeless Feminist”, whose lyrical content Smyth insists is on the woman’s side, almost inappropriately oozes sex appeal and could have appeared as a 50s classic if not for the liberating as well as wailing guitar solo. Nearing the end, the Howling Bells Juanita Stein assists on “Stay Young”, bringing you a joyous little snippet of campfire folk pop (definitely not bubble-gum).

The album features different dynamic and stylistic approaches such as the differentiation between the hopeful yet melancholic “Endless Nowdays”, and the guttural darkness of “No Man’s Land”. Styles mix yet the end result is a cohesive and accessible signature sound. Occasionally, you hear a motif here and there that sounds uncomfortably familiar, but on the whole, Release is as original and genuine as they come.

Review Score: 8.5 out of 10