Tuesday, April 8, 2008

CD Review: Tommy Hernandez’s Mimespeak

By Arin Whittington

Tommy Hernandez

Is he another one of those music majors from UNT? I don't know, but he is unique. If you are a diehard alt-rocker or mainstream radio zombie, or if you’re afraid of some bad ass piano, then this ain’t for you. But, do you like The New Pornographers and their super group mastery of the pop song? Do you like The Flaming Lips and their songwriting eccentricity? Have you heard the huge, sweeping, dramatic songs on Rufus Wainwright's latest CD? What about Straylight Run's style of feel good electronic punkish pop? Is this Tommy Hernandez’s style? Kind of. Honestly he’s all over the place, but his music is good and it pulls you in, like Robert Gomez does. And Robert Gomez is cool, so there.

Mimespeak is really like two albums. It starts as super new-age experimental piano pop and ends up as a beautifully crafted alternative pop album that has everything one could like. Lush piano-rich tunes dabble in everything from a floor show to vocal and instrumental harmonies so beautiful that you will melt away.

I encourage you to start with Track 6, "Death in Dallas." Sure, Tommy has a story to tell and wants the music to flow a certain way, but I'm trying to ease you in to Mimespeak. The typical, skeptical listener may not make it through the first few tracks and will miss what is a great album. "Death in Dallas" has cool lyrics, a great beat, and transcends the piano pop that makes up the next two songs. It’s sure to jolt you out of whatever kind of funk you may be in.

At this point you should probably skip tracks 7, "The Crazies", and 8, "Take Give,” depending on your tastes. These songs may be a little too dance pop. Although, they, too, have grown on me - it all mellows out after a few listens. Personally, I love "Take/Give" with its dissonant harmonies and brass. From there, track 10, "Fork,” made me wonder, “Wow! Where the hell did that come from?” A later track, "Upon Entrance," is highlighted by Tommy’s haunting piano style.

The final two tracks on the album are fantastic, possibly my favorites. I listened in amazement to "Math,” appreciating what Tommy and Krista can do using their voices, strings, piano, and no doubt hours of writing. How long did you work on arranging these songs anyway, Tommy? Then, "Secret Song" follows, a gorgeous and luscious guitar piece, instead of the, by now, expected piano. Wow.

While I preferred the style of the second half of the album, two highlights from the beginning of the album are the gorgeous neoclassical piano of "Etude" and "Two Names."

It's hard to classify the album. It’s weird. Like Sean Kirkpatrick weird, but Tommy sings better. Mimespeak has something that keeps bringing me back to it, and in turn, driving those around me crazy. They'll turn eventually, however, because the quality of his writing is fantastic. Maybe big piano pop is a tough sell for a lot of people. Hopefully not for you.

This review was submitted by a member of the Pegasus News Community.

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