After trawling some heavy depths on Phenobarb Bambalam,
Connelly took a generally sassier and, dare it be said, glammier approach on
Shipwreck. Not that the more melancholic side of life wasn't addressed, and quite well at that, but most of the songs have a sharp acoustic/electric guitar kick and at once rough and carefully produced feel to them that steers away from both the subdued and sprawling arrangements prevalent on Phenobarb. "What's Left but Solid Gold?" and the brawling "Drench" are two of the particular highlights, fierce and fine. Combined with the ever-reminiscent sense of
Bowie's vocal style that
Connelly makes his own, it's almost as if
Aladdin Sane decided to reappear in the mid-'90s -- a connection heightened by
Connelly's performance of "The Cracked Actor" during the tour for
Shipwreck. Further hints like the very
Mike Garson-like piano on the semi-country swing of "Spoonfed Celeste" and the breezy "Anyone's Mistake" crop up, as well. All this said,
Connelly's not trying at a complete homage -- it's still him and his own particular obsessions, not to mention his often witty lyrical visions of the world. Only guitarist Chris Bruce reappears from the Phenobarb lineup -- William Rieflin again contributes drums and keyboards as he did on Whiplash Boychild, while bassist Mark McNulty and guitarist/programmer William Tucker make up the rest of the band. An interesting tribute crops up via the song "The Early Nighters": while homages in 1994 were more often directed toward
Kurt Cobain,
Connelly instead specifically salutes River Phoenix with his graceful, mysterious words and light arrangement. It's a nice contrast to the deep, dark mood of "Heartburn," while still evincing sincere regret and loss. With strong tracks like the burning rumble of "Swimming" and the elegantly descending title song to fill it out,
Shipwreck finds
Connelly in firm creative flow. ~ Ned Raggett