There is a brilliant contradiction at the heart of “Black It Out,” a strange juxtaposition of sounds, a creative clash of opposites, but an oh-so-attractive one. On the one hand, the acoustic guitar picking is dexterous, complex, and ornate; notes fly off the bridge, chords cascade, and salvos make you salivate with delight. On the other hand, Kevin Driscoll’s now-familiar vocals (well, for those who have been paying attention) are hushed and haunting, feel private and personal, as if he’s pouring secret knowledge into your ear and doing so for you alone – the perfect blend of engagement and intimacy.
Anyone who can fill the required space as completely as this with just an interlocking array of picked guitar dexterity, those less-is-so-much-more vocals (slightly reminiscent of Tulipomania’s Tom Murray own dulcet tones), and only some incidental sonics washing about, is someone who understands creative arts. It is in the same skill that allows a watercolor artist to understand that space and suggestion are as integral to the final effect as the lines and color they make. It is this understanding that allows Driscoll to meet the listener halfway.
This “cathartic reflection on heartbreak and resilience”, this reminder that avoiding difficult memories and not dwelling on dark chapters as a coping mechanism is the first official release under his own name and so marks the launch point for an exciting new musical chapter for him. It is a chapter that, based on this enticing opening paragraph, discerning music fans will surely drink in avidly.
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