This album from Brighton’s Paul Diello from beginning to end creates two worlds, one an atmosphere of comfortable sadness, diving into tears from the mind’s eye of a clearly passionate and talented individual. The other a land of slightly twisted fairy tales, not a scary or intimidating place, but one where perhaps you might see the moon jump over a cow, without questioning it.
Originality in music is rare, and to a certain extent originality within music is essentially an ambiguous concept, however Diello has managed to create a particularly unique sound. The songs themselves vary in influence from folky, guitar led pieces to brooding piano based tracks, all interlaced with quintessential words of love through to sombre intimate reflections on society and relationships.
The album opens with Cold Hands which is built around a haunting sense of heartbreak, the weeping fiddle goes a long way towards complementing the tormented cries of Diello, and continues to do so through most of the other darker sides of Paul’s rainbow of emotional states that light up the remainder of the album.
If we have given the impression that the overall tone of the album is a sad one, that is incorrect, whilst there are introverted moments these are contrasted with a plethora of soulful and beautifully melodic instrumentation, not to mention the uplifting sentiments of tracks such as The Wedding Song and the pure wacky-ness of Frown that cant help but put a smile on your face.
What really laces Diello’s latest effort together however is his use of lyrics; insightful, perhaps sometimes bizarre, but undeniably poetic words shape this project into more than just another album you put on when you’re at home alone, and want your house mates to think you’re being thoughtful and creative. Paul uses his Boy-George-esque tones with his intertwining of the colloquial and the grammatical, the conceptual and the actual, to deliver words that may at some points seem impossible to decipher, but yet see the listener sure that they always mean something. This is not weird metaphorical experimentation for the sake of being ‘interesting’ or ‘different’, there is an underlying honesty through every piece, and it is impossible for the listener not to gain something from it.
The Last Green Bottle is full of flavours from The Cinematic Orchestra, Panic! At The Disco, Mika and everyone else in between, the originality comes in the masterful crafting of the brew. It would be unfair to pigeon hole Diello into folk music, or indeed to typecast his efforts as pop music, this album has been produced not only as a showcase for his song writing and recording ability, but to express and demonstrate his talent in creating a sound scape that encapsulates the listener, and as such leads me to think that The Last Green Bottle is sitting on the wall between Music & Art. The question is if it does accidentally fall, which side will it land in?