Let me preface this post by saying this is not as much a review as it is a chunk out of my life. I could never have anticipated the events that preceded
"Everything Changes" or the emotions that would follow. So, please forgive if this review bleeds into personal depths.
"Everything Chamges" is Audra's finest release, without question. The fact that it is independently released, and steers clear of the familiar (or expected) shows the band emerging and rebirthing. Audra was never a "goth rock" band, but their connections with the Rozz Williams community, their tribute song to Rozz, their infamous show with Gitane Demone, and of course the comparisons of Bret Helm's vocals to that of Peter Murphy sort of locked the band into a scene that while loved, was not one they coveted. Anyone blessed enough to hear their material prior to their self-titled Projekt release knows that Audra has more in common with Jane's Addiction than Bauhaus, but in all honesty, they wouldn't shy away from either accusation. The three members of Audra, Bret Helm, Bart Helm and J. DeWolfe encompass such diverse musical interests, and present themselves with such mastery of their craft, that trying to compare Audra as a whole to anyone is fruitless. It's a line you can draw from Gram Parsons to Venom... but I challenge you to pinpoint any single note and say, "See, there, that's so and so!" Audra is wholly an original band that is not relegated to any one sound or genre.
I was fortunate enough to see Audra perform live at
Convergence 14 in Tampa, Florida. They offered a preview of what would become
"Everything Changes" and they truly rocked the hell out of the Tampa Convention Center and blew away all other acts that night. Fuck, even a "techno-viking" wannabe was enamored with them and shred the dance floor. The much more important event that took place that night was the bond I made with Bart, Bret, and Greg Gibbs. It is one that transcended that night in Tampa, and has become a part of my life. I couldn't have prayed for a nicer group of people, or a more fun adventure in S & M, body builders, and corny jokes. And I learned how to tell what side the gas cap is on without getting out of the car. It has and always will be etched upon my memories, and had I known what was to come, I likely would have grasped a lot more tightly to that moment.
It's eerie how profound the songs on
"Everything Changes" would become, and still are. It's a powerfully, and personally written collection of songs complemented by an emotional and driving musical arrangement. There isn't a track on the album that doesn't illicit for me some memory; flashes of the show; flashes of words exchanged; flashes of smiles. The disc opens with
100 Years, a driving track that soars and makes the limbs move. A song about being true to yourself; trusting yourself in spite of the walls that crash in around you. It's a powerful opener and set's the stage for the songs that follow.
The title track, continues you on the path of wisdom and
"Everything Changes" sort of takes shape as a concept album. You realize that this truly is a transition for the band; shedding the cloaks of expectation; transgressing into who they want to be musically. It's a difficult and painful journey, and this album paints such a brilliant and precise portrait of that landscape that the immediate response is to draw parallels to your own adventure through life. It is a personal album, not only for the band, but for the listener.
What's Meant To Be continues that conflict of stay the course or give in and be someone else. Bret's vocals have never been so inviting. Musically, it's a brilliant blend of electronics, subtle keyboards, and amazing drums/percussion. It fills you with hope, gives you some assurance that life is what you make it.
Robin Wilson of Gin Blossoms offers vocals on
I Just Can't Let Go, and this is a song that is most evident of Audra at their best. Passionate vocals, a wall of guitars and driving drums. It's a chilling song, and it builds and builds and then the backing vocals come in, and it's simply brilliant.
Jason And The Doors is that track from every Audra album that you know is somehow influenced by some bizarre night or some unexpected event that is an inside joke amongst the members. Opening with vocals and piano, slowly accompanied by percussion and then a beautiful and subtle song evolves with slide guitar.
Forceful, frenzied and decadent is
Ocean. The underlying electronics fill this song with anticipation, while you are propelled to move to the rhythmic assault of bass and drums. Definitely a club favorite!
Life On This Planet is in my opinion a total departure for Audra. They will likely smack me for this comparison, but upon hearing it the first time, musically I would compare it to something from
"Anti-Christ Superstar", it is bombastic, and seethes with a sinister beauty. "Bret, are you inviting me to take a bite of the apple...?"
My favorite track from
"Everything Changes" is
Syd Barrett. Audra absolutely captures the madcap musician perfectly, I believe he would be honored by this presentation. The opening notes are intoxicating, and J. DeWolfe's percussion is so precise and a perfect blend between subtle and driven. The echoed vocals give way to Bret Helm spitting his affirmations of being okay. Bart Helm's guitar wails as if exorcising the insanity. There isn't a more appropriate close to this story.
I unfortunately can't listen to
"Everything Changes" as much as I would like to, it's simply too personal, another scar, however brilliantly colored, on my heart. It's a tremendous album and Audra's finest. It's a special journey and if you find yourself at a crossroads in your life, this could perhaps be your closest companion.
"Everything Changes" is available thru Audra's Website:
Audra's Official Website
