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"The Blue Room" never sat very well with me, though I did love Hotel Y.
  "Red Letters," on theother hand, is to my ears a cohesive, well structured and thoroughlyeffective disc. I'm very pleased with Edward's latest work. The wholealbum has a very slow, somber, moody atmosphere to it, yet "Seeing Red"is a bit faster (though still quite dark). It stirs me, my emotions, mythoughts and has already become one of my all-time favorite Ka-Spelsongs. "Belief on a Breeze," "Red Rock," and "Radio 6," are slow peiceswith plenty of chilling textures circulating around behind the simplemelodies, with Edward's emotive voice at the forefront.
A question: Is it just me, or does the progression to "Beleif on aBreeze" sound hauntingly like "Lisa's Seperation" ; and does the pianoprogression in "Red Rock" hint of some song from one of the China Dollreleases...? Of course, it wouldn't be the first time Edward hasre-circulated musical themes.
"The Carrier," "Groovy," "Red Letters," and the latter half of "Beleifon a Breeze" offer the more experimental side of the album -- crunchysounds, clanging percussion, odd vocal samples and other bits of chaos.In a word, *wonderful*. I really like the way on "The Carrier,"Edward's drawled vocals fit perfectly with a very 'non musical'backdrop.
"Swamp Thing" differs quite a bit from the rest; it's musicallybrighter, with peppy keyboard percussion and a catchy chorus of "downboy down boy..." I enjoy the addition of Rachel's voice at the end,too, singing "what you do, you do for love."
Nothing on this disc failed to connect with me. Nice work, Edward!