Customer Reviews

Sirena

5 star:		(9)
4 star:		(4)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

I just got a copy of Cousteau's "Sirina" yesterday, and I was kind of afraid that either the songs would not be as powerful as thier first album and it would have that kind of cranked out follow-up feeling to it, or that it would maybe reflect too much of the influence of what critics have been saying about their music. But, wow, was I surprised when I listened to it. It still has that destinctive Cousteau sound to it, the lushness and atmosphere, but this time around the sound is much more exclusively DARK, I mean the frist album was very dark, but in more of a meloncholy and longing way, this album reflects a mood more world-weary and sorrowful. More deprivation-like. This time around they sound so much more jazzy and funky, kind of like the whole album takes on a tone similar to the first album's "How will I know" and "Of this Goodbye." More piano, jazzy drums, jazz guitar, with the addition of saxiphone and even some accordian, but much less flugal horn and violin, so the sound's much less fantasy dream-like and more smoky, late night, jazz club, sexy. Really overwhelmingly sexy, in fact some of the songs on here are almost unbearably sensual, like "Please Don't Cry" and "Peculuarly You." Liam's voice was already amazingly smooth but now he seems to be singing in a much broader vocal range, and with so much more unrestricted emotion. Wow. There's pretty much one unified tone to the album, unlike their debut, which was pretty much a collection of all of their tracks, which swayed from mood to mood. This time it's just one continuous opus of sorrow and regret, there aren't any uplifting tracks like "One Good Reason" here. Davey Ray Moor must have been pretty depressed when he wrote this collection of songs, the lyrics are so unbelievably and shamelessly emotional, a reflection of a wounded soul screaming out. What an unbelievable songwriter, to capture such complex and strictly non-verbal moods. I think truly that this album prooves that Cousteau is capable of becoming all that they show such promise of becoming, and possibly much more than we might expect. It's probably pretty obvious from this review that I'm a giant Cousteau fan, but this album really has made me see them and hear them in a much different light. I mean it's not redundant like I was afraid it might be, it proves that there is so much range here, so many possibilities for different avenues that they can take. I was afraid they might get stuck in one particular style. Oh, and also, though the production value on "Sirina" is much better than their first album, it still kind of has to be heard on a quality sound system, there are so many nuances to their sound that are so important to the work that are just missed otherwise. I've only listened to it a few times so far, but I'm certainly going to keep returning to this album to fully absorb it, if I can. But it is all very depressing, so be prepared for that. But depressing in such a overwhelmingly tragic-romantic way that you almost want to cry tears at it's beauty, like you would to viewing a marvelous sunset,or to viewing a fine artist's masterpiece. But there's an edge to it, so it's not exclusively artful. And you kind of have to be in the right mood to hear it. I really wasn't expecting this album to be like this, so dark and all, but I'm so pleasently surprised. The world needs more music like this, music that you can emote to and relate to. That you can CONNECT to. Powerful. Affecting. A must have.

Can't believe that there's only 10 reviews for cousteau. I stumbled upon Cousteau with their first album and like their songs alot. Their music is very loungey, smokey, and should be listened to with a good drink in your hand. This new album picks off where they left off on their first album and after repeated listens, will have you singing along. There are definite highlights in this album which would be late september rain, nothing so bad, damn these hungry times, heavy weather, and she bruise easy. My favorites however, come from their first album with how will I know, and she dont hear your prayer.

I wasn't sure whether I wanted to get Cousteau's second album "Sirena" because there are a lot of cds that I wanted to get, and "Sirena" really wasn't a priority, nor did I had any interest in getting it at the time. I absolutely thought their first album was a classic. I suppose my then lack of interest in buying "Sirena" had to do with fear that the album would not be any good. Needless to say my attitude all changed when I listened to some of the album. I just really flipped over this album, especially the first four tracks. I thought the material was much tighter than the band's first album. I really loved the catchiness in "Nothing So Bad" and "No Medication". I think the difference in this album is that Cousteau rocks out a bit more (in their own manner) than on their self-titled debut album. The same lush, smoky, atmosphere from the first album is still evident on "Sirena". Liam may still sound like Nick Cave and the Tindersticks' lead singer but I have no problem with that. I absolutely love Cousteau. I'm really glad that I changed my mind and bought this album.

Liam and the boys have done it again. the dark, dusky sophmore album from them is SO beautiful. Its a mood album. Its for night listening. its for those late nights full of sorrow and rain. its for a dark night of deep and penetrating thoughts. its for an evening of sulking. its for an evening of sharing your thoughts with a loved one. don't pass this beauty up. the lyrics are sensual. the music is sweet. the singing is perfect.

I bought the band's debut shortly after its release and only listened to it seriously a few months ago. When I did so I discovered that I loved it. Naturally I then purchased Sirena. It is just as fine. I`ve always been a sucker for Scott Walker's lovely smooth baritone and Liam McKahey's voice is comparable. Combine this voice with lush arrangements in very much a Bacharach style and you have what can be best described as first class, moody, lounge music. On occasion the songs and the production approach parody, unintentionally of course. I can visualize Bill Murray or one of the Pythons. Fortunately these songs stop just short of the edge, just as Bacharach and Dusty, David and Brian often did.

Although I am never surprised when truly excellent music goes unappreciated and crap is immensely popular I do find it just a little depressing that Cousteau came and went and created but the gentlest of ripples upon the ocean of popular music. This isn't, admittedly, music for all tastes. However I suspect that if it was exposed to a wider market it would have been quite popular

Seems some of the best things in life are free or almost free. For sale used at $0.22 here, this is a dimond in the dirt. A very well crafted album of sultry hart felt melodies. Theres a lot of depth, warmth, sorrow, love and dark hope in this music. Late at night, in a darkened room, with a good sterio and some whisky, this music will transport you to another land. One a little more beautifull because its real and it's timeless. But what do I know I'm only one man.

I first heard Cousteau on an L.A. radio station with a track song, 'Blue Melody: A Tribute to Tim Buckly', I was hooked.
I have since bought both the first named album and Sirena.
The first three tracks on Sirena are solid great songs, this is definitly an album you wont just listen to once and then put back on the shelf.
Liam Mckahey is just a great vocalist, I wish this band good luck!

Confident, pliable vocals supported by a deceptively simple musical cast of characters hang behind the meter of a song to extend phrases in captivating ways. Lyrically and musically Cousteau/Moreau exude an intelligence and musicianship sorely lacking in today's music scene. Sirena envelopes my soul, heart and imagination like warm plush velvet. I am enchanted.

Imagine a man that looks surprisingly like Mike Ness of Social Distortion, dresses like a GQ suit model and has the voice of Scott Walker crossed with Johnny Hartman, and you have a pretty clear picture of Liam McKahey, the lead vocalist of Cousteau. Add in that his amazing voice is the vehicle that brings to life beautifully crafted and orchestrated songs that sound like lost Burt Bacharach standards, and you have an understanding of Davey Ray Moore, the mastermind behind the material. Put these elements together and you have an understanding of Cousteau. Their second album, Sirena continues in the same vein as their first and shows a band that is more accomplished and better than most any band getting airplay today. The first track off the album, "Nothing So Bad" sounds like something written for Dusty Springfield during the Dusty In Memphis sessions - think "Just A Little Lovin'" with a silky baritone.

Cousteau's latest album, "Sirena," is hardly an advance over their first, and that should suit their fans just fine. Once again, there's something here to complement the listener's every mood, especially if you're in the mood to make out. Once again, the music is a combination of influences-Bacharach, Pink Floyd, It's a Beautiful Day-in blue. And, once again, the music is grounded in some of the smokiest male vocals since Scott Walker's solo albums. Indeed, if anything, Liam McKahey's instrument seems to have grown in terms of suppleness and range (hasn't he gained an octave on "Peculiarly You" and "Please Don't Cry"?). Davey Ray Moor's music is by turns effervescent and morose, showing McKahey's baritone to gorgeous advantage. If I have one gripe, it's that the lyrics are once again pretty lightweight, if never less than serviceable. What's Hal David doing these days? Wouldn't if be great to team Moor with David and have Walker produce? Nothing quite as catchy here as "The Last Good Day of the Year" or "Wish You Were Her," but plenty of instantly likeable hooks. My picks for singles: "(Damn These) Hungry Times" and "Have You Seen Her."