In Valley of Abandoned Songs, The Felice Brothers breathe life into a gallery of vivid characters: a tragic heiress chanteuse, a loyal NYC bellhop, a prostitute in pastel tights, a dead man’s guitar, and a wistful railroad traveler. Each figure serves as a poignant reflection of the band’s ability to intertwine the fantastical with the everyday, crafting an album that is both richly imaginative and deeply grounded in reality. Through these characters, the band explores themes of loss, devotion, and the human condition, all within the framework of their distinctive sound.
Valley of Abandoned Songs drifts seamlessly between the fantastical and the tangible, much like the dreamlike painting that adorns its cover. The album captures the essence of society’s overlooked and forgotten corners through evocative arrangements recorded in an atmospheric 1870s church, lending an air of historical gravitas to the band’s folk-infused sound.
Ian Felice’s distinctive voice guides listeners through this evocative landscape, exploring themes of loss, regret, and devotion with a poetic touch. Although many tracks were initially slated for previous releases, their inclusion here proves that what might be considered “leftovers” can still deliver powerful, resonant narratives. The album’s opener, “Crime Scene Queen,” intertwines haunting harmonies with a noir sensibility, creating a chilling prelude to the journey ahead. “Raccoon, Rooster and Crow” subverts the nursery rhyme genre with a darkly whimsical edge, while “New York by Moonlight” offers a smoky, melancholic portrait of the city.
Despite its overall moody tone, the album is not without its moments of light. Tracks like the buoyant “Younger as the Days Go By,” the reflective “Tomorrow is Just a Dream Away,” and the heartfelt closer “To Be a Papa” provide glimmers of hope and introspection. These songs offer a counterpoint to the album’s more somber themes, creating a rich, dynamic narrative that keeps The Felice Brothers’ world both captivating and expansive. – Jason Felton