A Conversation With David J On His Most Personal Album, Yet

“It’s descriptive of a period of time, the last five years in my life.” “A journey I’ve been on.” “The whole thing is a love letter.” “I dedicated it to my wife.” “It’s all there in the lyrics.” “The most personal recording I’ve made.” Gather together these small fragments David J allows himself to say about his forthcoming double album and very quickly you’ll feel as if you’ve been granted a peek into the man’s heart and soul. Listen to all sixteen tracks from Missive To An Angel From The Halls Of Infamy & Allure for confirmation. With a celebrated heritage beginning with Bauhaus, then Love & Rockets, and a vast catalog of his solo work, you may believe David has poured his heart out in the studio at least a couple of times. There can be no doubt he has on occasion suggested to the listener that his emotions were on display in his music. The boldness of the title for his latest release could be a warning. Don’t expect a collection of neo-Bowie–Sylvian maudlin-style odes to unrequited love. The opening cut, Mosaic tells of a jaded rock star’s cocaine-fueled fractured life, complete with an exotic violin refrain. A simple-sing-along Blues Eyes In A Green Room underplays the serious lyrics as the seeming laissez-faire snare drum gives space for the pristine piano leading the melody. David’s only cover on the album of the late Peter Laughner’s Baudelaire is both poignant and reverent, while he manages to craft what essentially could be mistaken as his own composition. “Like a kid in a candy store, I want to lick what I like”, sings David in I Don’t Want To Destroy Our Beautiful Thing. Self-confession and reflection while away from home. There is an unnerving wavering quality to his voice on this cut. How many takes? Was this the first and last? Lovelorn comes next. Surprisingly jaunty albeit with a raw biting story.

At this point in listening to the record, an overwhelming thought sweeps in – how come we don’t listen to whole albums from start to finish anymore? The accordion(?), then the strummed acoustic guitar, the up-close vocals, the piano, and the plaintive violin all deliver Clandestine Valentine as if as a familiar song. And, that’s a good thing. With references to Pasolini and arty-farty girls, you know you’re in for a “triple X” adventure as David says in Purgatory and Perfume, masquerading as Blood On The Tracks era Dylan. The story behind the evolution of Migena And The Frozen Roses is best told by David J, which he does in our conversation. The collaboration with The Brian Jonestown Massacre frontman, Anton Newcombe, and actress Asia Argento on this song is indicative of the brilliance of David’s ability to co-opt the talents of other artists to accomplish an exceptional body of work. Oh, and yes, this is the song that unabashedly explains so much about this double album. In No Floods Can Drown, an honest statement, simply presented. “Morning wood” may not be your typical idea of love. Yet, David does suggest it’s all part of thinking about love, a Pre-Existing Condition. “She bats her lashes and a hurricane starts in China. You’re on your knees at the vestibule of vagina.” Sings David J in Copper Level 7. The power of a woman who uses hair color apparently. Rhyming China with vagina is just part of his flavorful word-play – “She slips on her stockings and initiates a coup d’etat.” The tune breaks down halfway through into a mock ragtime interlude before easing back into the original melody. The positively-poppy tone of (I Walked Away From) The Girl In Yellow disguises Mr. J’s self-questioning or is it congratulation of being able to avoid getting into trouble. Beginning with a quasi-western guitar sound, Best Western Blues proves how smart David J’s writing can be. In the end, he is still checking in to find love as the song closes with an electronic wind sound, the ascending violin(s), and the clippity-clopping beat. The sound of rain recorded on David J’s iPhone begins the title cut Missive To An Angel From The Halls Of Infamy & Allure. The somber violin coming to the fore as an acoustic guitar strums behind compliments David’s woeful but assured voice. Is this the album’s tour de force? I would argue that it could well be, yet David gives us two more tracks to contemplate. The Auteur (Redux / The Starlet’s Cut), an older song from his library of work has been revisited adding the voice of actress and activist, Rose McGowan. It’s a haunting song, disturbing in that Ms. McGowan has featured at the forefront of the #MeToo movement and David has not shied away from exposing his interaction with women. Finally, the beautiful voice of Emily Jane White joins David on I Hear Only Silence. Listen carefully to the words and reflect on what you have heard already on this album. A simple piano coda plays and the quietness, the vulnerability comes scorching through with the two voices.

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