With
the release of his debut album, “What Circus Is This?,” R.D. Thomas
talks about the lyrics being the most important aspect of the record. He says, “The
music - even the voice - is just a vehicle for the words.” We respect that
assessment for the album as a whole and for ten of its eleven tracks. The
exception is “Welcome to The Deep End.” The verses are intelligent and insightful,
while the chorus is inviting. But the song’s strengths are in its instrumentation
and in its diversities with respect to both intensity and lushness.
“Welcome to The Deep End” accommodates appreciation from several vantage points. The best is with an ear “focused” on the kick drum. This largest member of most drum kits brings increased appreciation for the other contributions to the single from R.D. Thomas. The kick drum enters after 13 seconds in the form of a heartbeat having the “lub-dub” sound that is typical of each cardiac cycle. In this case, the “lub-dub” heartbeat occurs every 3 seconds, starting when the lyrics refer to “heart” and continuing until “Welcome to The Deep End” shifts to a clear, clean guitar and a steady beat kick drum (at 0:37). It’s at that time that the voice of R.D. Thomas maximizes its enchantment, with the reiterative, optimistic chorus.
The kick drum also performs an important role during a crescendo that begins building at 2:05 and delivers the listener to arguably the highpoint of “Welcome to The Deep End.” At 2:30, a guitar screams into the mix with a sound that almost mimics that of a small horn section. It is at this time that the song is most lush and energetic.
R.D. Thomas is from Cornwall, UK, but now lives in London. He began his career as a touring multi-instrumentalist for Ben Howard and Paolo Nutini, as well as frontman for alt/folk outfit Brother & Bones. He is now venturing out on a solo career. The credits for “Welcome to The Deep End” note that Thomas contributed acoustic guitars, electric guitar, bass, vocals, percussion, OP1.
Thomas explains that the album, “What Circus Is This?,” is about “changing my process. I am often guilty of over-analysing, deliberating, and dismantling. I wanted to change that; and to more distinctly separate the writing process from the production process. To work more instinctively, and to discover the finish line for the music more decisively.”
“Welcome to The Deep End” by R.D. Thomas (We
thank Jasmine (Jazz) Hodge at Kartel Music Group for the opportunity for
advanced listening.)
Lyrics of “Welcome to The Deep End” by R.D.
Thomas
“Welcome to The Deep End” accommodates appreciation from several vantage points. The best is with an ear “focused” on the kick drum. This largest member of most drum kits brings increased appreciation for the other contributions to the single from R.D. Thomas. The kick drum enters after 13 seconds in the form of a heartbeat having the “lub-dub” sound that is typical of each cardiac cycle. In this case, the “lub-dub” heartbeat occurs every 3 seconds, starting when the lyrics refer to “heart” and continuing until “Welcome to The Deep End” shifts to a clear, clean guitar and a steady beat kick drum (at 0:37). It’s at that time that the voice of R.D. Thomas maximizes its enchantment, with the reiterative, optimistic chorus.
The kick drum also performs an important role during a crescendo that begins building at 2:05 and delivers the listener to arguably the highpoint of “Welcome to The Deep End.” At 2:30, a guitar screams into the mix with a sound that almost mimics that of a small horn section. It is at this time that the song is most lush and energetic.
R.D. Thomas is from Cornwall, UK, but now lives in London. He began his career as a touring multi-instrumentalist for Ben Howard and Paolo Nutini, as well as frontman for alt/folk outfit Brother & Bones. He is now venturing out on a solo career. The credits for “Welcome to The Deep End” note that Thomas contributed acoustic guitars, electric guitar, bass, vocals, percussion, OP1.
Thomas explains that the album, “What Circus Is This?,” is about “changing my process. I am often guilty of over-analysing, deliberating, and dismantling. I wanted to change that; and to more distinctly separate the writing process from the production process. To work more instinctively, and to discover the finish line for the music more decisively.”
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