Single, Morningless, sets saxophone against guitar to interesting effect, and is certainly the stronger for it.  Bounding, arpeggiated, guitar chords propel Lifetime Supply, demonstrating that Dempsey knows how to use his instrumentation, while Iris Black – an exploration of dementia – handles its subject matter with such delicacy and sweetness that it cements Dempsey’s position as a lyricist of note.  For all that is on display with Strange Loop, I’m still not sure what – besides the absence of Stephanie Ashworth and Clint Hyndman – would prevent this from being a Something for Kate album.  That isn’t a bad thing, and Dempsey has said “the solo stuff is not only solitary, it’s liberating; there’s less talking, less discussion, less debate,” so perhaps the difference between Paul Dempsey and Something for Kate is process.  Perhaps asking what that difference is, is the point.

This is an extract from a review originally published on the 21st May 2016. Please visit Renowned For Sound to read the full review.

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