Frank McLallen’s Unique Pop Landscape
Back in April, I covered Frank McLallen’s first single from his new album, ”Extra Eyes.” Definitely check out the piece to watch the music video for the track, titled “Manic,” and to learn more about McLallen’s background in the Memphis music scene and what prompted his first solo record.
“Manic” made me a fan of McLallen, so I was glad to get access to the full album earlier this week. Altogether, it’s a pretty compelling, introspective, and, at times, playful listen, and it solidifies McLallen’s bona fides as a solo artist.
When listening to the record, one specific element jumps out immediately—McLallen’s melodies always resolve in a really satisfying way. Just check out the choruses for “And the Spring Won’t Come Back This Year” and “Electric Inn,” and you’ll see what I mean. Regardless of the genre, tempo, or production style, he has an innate ability to stick-the-landing melodically, and it’s what drives me to revisit many of his songs. That keen sense of melody, along with his sharp (and sometimes biting) lyrics, make him a confessional pop mastermind of sorts.
Although “Extra Eyes” is, at its heart, a pop record, McLallen isn’t afraid to introduce and explore a wide range of styles across the 10 tunes. One of the clearest points of exploration is “Taking it Back to the Morning.” With its unexpected percussion and sneaky vocals, you might feel like you’re revisiting Ween during their most accessible era. It’s a catchy, off-balanced, quasi-samba jaunt. And it’s excellent.
Other influences emerge along the way too, including John Lennon, Harry Nilsson, and a wide range of Elephant Six poppers. But, regardless of the influences and comparisons, it’s McLallen’s openness and introspection that keeps everything grounded in his specific voice and point-of-view.
The big standout on the record is “Imogene LaRue.” It’s an uptempo rocker driven by a distinctive harmonica part, in-the-pocket tambourine playing, and a vocal effect that makes the whole thing feel a little uneasy. It melds so much of what makes McLallen’s music special: melodic precision, dust-laden production, restrained but adventurous instrumental additions (piano and so on), and lyrical themes highlighting destructive behavior and the unquestionable need to change. It’s one of those perfect bait-and-switch tunes too–at first, it presents as optimistic, until you hear the line, “But you just won’t change, your color’s blue,” and you realize something heavier is at play.
That heaviness waves at you throughout the album. It’s pretty clear that McLallen is unpacking some serious stuff on this record—including complicated relationships, disillusionment, and addiction—but he’s not melodramatic about it. He embraces subtlety and artfully infuses symbols, similes, and, when necessary, specificity to get his point across and to prompt you to dig a little deeper.
Check out the full album here, catch McLallen at his release show on September 6 at Bar DKDC, and pick up a copy of “Extra Eyes” via Red Curtain Records.
