The album opens with Wide Awake, rather an upbeat retrospective song hinting that the record is a rebirth of sorts. Sunshine follows on, a song true to its title but with a hint of darkness that comes closer to the fore on The Bend, a Saturday afternoon song that would fit in well alongside Jason Mraz or Harper Simon. However, from the first twangs of Death Ain't Sex it's obvious change is afoot. The tone shifts from country pop to Nashville-flavoured rock (fitting, as he's a Nashville resident.) Swallow The Sun, the album's rocky-iest song, is the highlight both musically and lyrically. Powerful drumming drives it forward and it becomes semi-anthemic - the kind of song that would sound spectacular live. Paper Doll cools the atmosphere a touch, allowing Godless to really make itself known. It follows up on Swallow The Sun's widescreen promises - again another highlight. Album closer The Hunter relieves the tension, almost slipping into pop again without letting go of the rock element that Stewart seems to be altogether more comfortable in.
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Mollx
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