Well, at least every song isn't exactly the same.
Tom Allalone hails from England's Gravsend, which apparently features a set of smuggler's tunnels and a house with an upturned boat for a roof. This debut album does not have an especially English sound however, indeed most tracks have a strong American jazz, folk or country influence; and others have an extra sprinkling of Latino. All eleven tracks operate in the same distinctive style, but manage not to blur into one or bore the listener - a sadly all too rare a feat in the world of singer-songwriters. Unfortunately the review copy of Mr. Allalone's self-titled debut comes with only one tracklisting that is written on the CD itself, making it impossible to comment on tracks here by name, so please bear with the number references.
We enter the album in a syrupy mixture of brass and guitars, transported to a hot summer evening where flowing skirts and black tie suits are the norm, miles from grey Britain. Four minutes later, Tom Allalone ups the pace and we fly to the Wild West, travelling across the desert in an old "steam train". In this second track (ear-marked to become a future single) Tom sings of hell being preferable to marriage and relationships with pairs of sisters - expressing borderline misogynistic sentiments that have been said so many times before they cease to mean very much. Still, he combines them with a catchy tune and after a couple of listens it's hard not to sing along with the refrain: "Hell's the one for me".
Three tracks in we meet a ballad, a ballad about self-harm in fact. It isn't as emotional as it should be (largely due to the saxaphone and fifties-style choral backing that screams 'melodrama') and brings the album down somewhat. It is unfortunately placed between two upbeat, rock-influence songs which does not suit a song that is clumsily attempting to address a serious issue. Other slower songs include the fifth track, employing another thematic classic with can be summed up in one quote from its chorus: "I've fallen in love with you"; set against a backdrop of strings and airy vocals. Track six tells the story of Tom's relationship with a girl called Emily who he has known from school. Something in the lyrics and backing music implies Tom is attempting to emulate Pulp's gritty urban realism and quirky musical style but unfortunately Mr. Allalone's rather bland voice and repetitive musical style prevents the song from reaching the same standard.
The album's second half isn't quite as memorable as the first, generally erring towards fairly standard swing and jazz influenced pop songs, although track nine is a pleasant ballad, albeit on the short side. Song ten, which centres on a cinema, has an orignally old-fashioned sound to it, highlighting the true musical versilitilty of Tom Allalone.
Despite his rather whiney psydomnym Tom Allalone's music is almost as far from dark as a Milkybar. This does not rest well with his attempts to tackle serious subject matter in his lyrics (particuarly in the case of tracks three and eleven) but works well with tracks such as the opening pair and seven and eight whereupon nothing but entertainment is attempted. His jazz, blues and swing influences may not be to the taste of many indie fans who prefer their singer-songwriters to come with guitars or pianos, but despite its faults this self-titled debut manages to avoid being boring, and is unlikely to wholly disappoint anyone.