By Keith Walsh
The rock opera concept album All That Should Have Been by Night Wilds starts off with spectacle but quickly develops into a collection of ballads and bangers. On an album in the theatrical style of a Broadway musical built upon rock forms, the first two tracks suggest an abusive circus setting, where despite the trauma, profoundly great entertainment is made. There’s a wide range of tones and textures here, from mellow piano and acoustic guitar ballads, to dark distorted guitar, all played with expertise.
That’s where singer/songwriter Seth Micarelli comes in. As a skillful composer and performer, he’s put together a set of tracks with soulfulness and harmony to spare, and he drummer Ben Smith (of Heart), along with producer Tom Hall (Blondie, Placebo, Depeche Mode) put on a spectacular show packed with special moments that at times reach sublime transcendence.
Micarelli’s affection for the positive beauty of rock forms is clear. There’s an American sensibility here. His rich voice is immediately appealing and well suited to the tunes which feature rock instrumentation with occasional orchestral work, tracked with classical precision on analog gear in Seattle.
The third track, “Mother,” is a thematic and musical homage to Pink Floyd, and it’s every bit as harrowing and beautiful as the song of the same name from The Wall. In fact, Micarelli’s voice is even more pleasing, being less haggard, than that of Roger Waters. The next song, “Fear’ is a dark and minimalistic dirge that puts a fine point on the powerfully afflictive emotion that ideally moves artists to push back creatively.
All That Should Have Been has all the markers of a top notch crew and pristine recording environments. It’s an exceptional album that’s worthy of the grand, staged spectacle we can hope will be forthcoming.
“New Jerusalem” finds Micarelli sounding closer to The Wall-era Pink Floyd than ever, in a song that starts off minimalistic, then develops into rage, before settling into a sublime arrangement with lovely female backing vocals, and string orchestration. “Confusion” with its rattling, simmering drum and bass figure, is another ode to another state of mind that artists of all media can learn to channel and use. Micarelli adds a theatrical flair to his vocal performance here, and the result is haunting, but ultimately lovely and inspiring.
“Control” is a down tempo rocker that depicts a struggle for autonomy against a future that threatens to subsume us. Micarelli really shows off his vocal power here, and the instrumental work of the distorted guitars is excellent. The tone changes now, with the serene “Heartland” reflecting Micarelli’s affection of the work of Bruce Springsteen, and Bono of U2. It’s a reflective tune with acoustic guitar and piano, and an uplifting chorus suitable for its sentimental nature.
“Where Do We Go From Here” features a minimalistic piano-based verse, that reflecting the searching nature of the lyric. As it develops, manic background vocals mix with sublime female backing vocals, and the effect is devastatingly beautiful. “City Of Strangers” is poignant ballad questioning the necessity of loneliness and pain. Halfway the drums kick in, and the tune becomes buoyant and relevatory. Micarelli’s total mastery of every aspect of songwriting and performance is here – with insights that only come from a higher place born of experience.
“A Long Way From Graceland” finds the protagonist searching his conscience, with thematic and melodic spirituality and authentic performances. “Joni” is tender ballad about a love lost to tragedy, with the trauma of a life traveling with a circus coming out in later verses. Despite the fatalistic title, “No Way Home” describes the permanence found in acceptance of limitation. “Tired” similarly flirts with a harder rock sound, and a tale about someone crying out for change when trapped in a corner.
“Just A Moment More” is lovely acoustic guitar ballad with a message of transcendence, about savoring the past and finding peace by letting go and living in the present. It’s reminiscent of work by Bob Dylan, and has the very funny line “I’ll let go what I grasp/Let God kick my ass/Till I understand at last the time I had.”
“Lost Light” is a dark, post punk/world music hybrid composed in a mysterious Eastern melodic mode that develops into a psychedelic piece with ethereal female soprano vocals.
Recorded at Robert Lang Studios , London Bridge Studio, and Elektrokitty Studios, All That Should Have Been has all the markers of a top notch crew and pristine recording environments. It’s an exceptional album that’s worthy of the grand, staged spectacle we can hope will be forthcoming. All That Should Have Been is on Gravel Road Records.
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