Carlton Heston - Safe Haven
The Eddie-Vedder-sounding singer/songwriter Carlton Heston has returned (seemingly with confidence, unlike his previous album’s stating he didn’t think they were any good.) His latest LP, Safe Haven, is a huge step up from previous releases, mostly in the production department. Heston has never sound more vibrant or confident.
Safe Haven is anything but a safe record. It’s dark, brooding and alike similar soft-core gothic acts such as Black Heart Procession. Furthermore, the majority of its tracks have been greatly expanded upon, constantly pushing towards the ten-minute marks. Heston’s unique vocal delivery transcends the standard instrumentation, as does his instrumental expression. The album doesn’t waste a single moment, as it opens with the soft-spoken introspective Daylight Fades. Figures in a Dark Hall focuses on a single melody, though it’s a strong enough composition to warrant its length, become further encapsulating as it progresses. Monster Party is a powerful overture that progresses into a hard-hitting industrial track in line with Peter Gabriel’s grittier side. The Mysterious Axeman's Jass, in contrast, almost sounds like Phil Collins in retrospect, though its instrumentation is far more intriguing. Mixing peart acoustic guitars with a pounding disco beat could have sounded like ass if it weren’t for Heston’s genuine vocal expression. Furthermore, the instrumental breaks are fresh.
The second half of Safe Haven is just as strong. House in the Witch Dream, the longest song on the album, benefits from a remarkable progression. Heston balances out his smooth vocals with a dark, croaky underbelly of accompanying lyrics. You could almost hear venom dripping from Heston’s mouth as he spits his bars. Synthetics gently creep their way in and beautifully accompanying the lunacy. The track appropriately degrades in a disintegrating manner; whereas this technique is often over-abused, the blend of textures and nylon strings towards the end are undeniably gorgeous. Empty Hearts (A Hairball) is another overture that sticks to one idea this time and fits beautifully in the track-listing. Both expressive and admirably well sung, the song gives a memorable break from its two megalithic tracks, the second being In & Out of Time. The latter track is sadly more conventional in the first half, though makes up for it with its atmospheric progression. Halfway through, it turns to madness, before continuing its dark, vicious path. A respectful piece, though certainly not as strong as the preceding tracks. The closer, Cemetery Lights, while much shorter, is far more memorable. Similar to the opener, it strips back its instrumentals and focuses on Heston’s powerful, dominating vocals.
On top of all these positives in the songwriting department is a sheer brilliant mix. While it never sounds like a highly produced record, there’s exceptional attention to detail, and a phenomenal balance of low and high frequencies. Carlton Heston has evolved to a full-blown respective artist with one release. Safe Haven is phenomenal and comes highly recommended to everyone in the scene.
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Listen to it here:
Carlton Heston - Safe Haven
