Review by Joey Cutler
www.grafwv.com
Despite some really unique circumstances, Nat Ireson has finally been able to release his debut full-length album, "Serotonin," which has been under construction for the last three years. Though progress was hindered by a series of unfortunate events, Ireson has emerged victorious. "Serotonin" is, at the very least, interesting and entertaining. Upon first listen, it is a release that has the ability to entice the listener to see what the next track will offer, which is quite a bit actually. Ireson's love for experimentation is prevalent on "Serotonin" and is what makes this release come to life.
There are a lot of things that influenced this album so it can't really be classified. A lot of different musical influences come out to play with each other on any given cut. As the album plays through, however, there seems to be an increase in the use of synthesized music that gives the songs a more "electronic" direction all the way up through the final cut - an instrumental entitled "Deep In The Cemetery"- which is entirely electronic. More than anything, though, is the use of the ukulele, which is one of Ireson's primary instruments of choice. Because he's elected to employ the ukulele where many might have opted for the traditional guitar, he's managed to give his music a softer, even sometimes playful feel, despite the darkness that seems to surround much of the music. "Serotonin" is not completely devoid of any guitar at all, however, because Ireson definitely knows how to play that as well, and he does. But his choice to change things around sometimes makes for a nice, weird juxtaposition. While there are probably many artists out there doing their thing that might be comparable to what Ireson does on "Serotonin," his unique perspective on life and his surroundings helps to give his music a different light that isn't present in what a lot of similar artists do.
As far as the individual tracks go, they range from avant-garde - due in sizeable part to the variety of vocal approaches - to straight forward. With the experimental nature of the release, however, it might lean a bit more toward the former than the latter. That is really a big part of what makes this album as appealing and enjoyable as it is: Ireson's diversity. This is probably best represented in cuts like "Wang Toe Beehive," "Don't Bless It, Hold It," and "The Leader" - a song written while he was confined to a nursing home after sustaining life-threatening and life-altering injuries sustained in an accident. "Hello," which also opens the record, is another track that has a really ethereal quality due, again, to his vocal approach. Songs like "My Name Is Mikie" and the title cut, "Serotonin," while still remaining true to his aesthetic, come at the listener a bit more head on. A noteworthy strong point, "My Deity," has an almost Trent Reznor-esque delivery that works exceptionally well (that's not to imply that this sounds anything like Nine Inch Nails at all).
"Serotonin" is arranged really well and is a nice sound release for Nat Ireson, especially as his debut. While it's not something that everyone might understand, if given a chance, you're likely to find something, in at least a few the songs, that appeal nicely.
released April 29, 2013