Performers known for one artistic route can often compile that longevity and use it for another route through the art world. The results are often remarkable. Tim Heidecker and The Very Good Band, Finn Wolfhard, and Matt Berry, all artists who have perfected one range and are moving on to the next. There is a creative spirit that guides them, as it does Peter Capaldi, whose latest album, Sweet Illusions, is tremendous. Expect a singer-songwriter tone and be pleasantly surprised when hearing Capaldi has gone the other route. Slick rocker tones, the journeyman sound of a man looking to capture the cooler side of life. Sweet Illusions is, thankfully, under no illusions of what it is. This is more of a side project for Capaldi as he finds himself between day jobs. His talent for the screen is transferred to the studio, though there is a line of separation between the two.
Thoroughly enjoyable vocal and instrumental work is what Sweet Illusions has in store. Capaldi has a voice which takes a little getting used to, but once you realise the similarities with modern-day baritone performers, Sweet Illusions becomes a wonderful time. There is a directness to his performance which ties well to the lyrics. Opener Is It Today documents a life well-lived but lacking some vibrancy, some thrill in those familiar streets and modern clothing. His style, the slight, spoken-word offerings, give the story heard on each song time to develop. It is the best and worst part of Sweet Illusion. A bold choice to make it the focus when the lyrics could use a little work. Still, there are the highs of Hanger Lane to convince a listener of the process, of the joys to be found in this Capaldi album. Places, people, and spaces are all flittered through, cards in the songwriter’s deck. Capaldi is no shuffler. Sweet Illusions comes back to the same few spots time and again in search of new meaning.
But when it does return to those familiar moments of love prevailing in the face of danger, Capaldi gets to play around with his vocals. Deeper he goes, a charming, rough edge to his sound which is contrast with slick and sharp guitar work. If this had been performed by Bob Dylan, we would be singing the praises of those moments with detail of all the wrong interactions. The Big Guy shares nothing at all, but has plenty of microscopic detail. It is a fascinating listen, though it revolves around the same love and hate which backs the rest of Sweet Illusions. There is a sincere blur of tones, though much of it fails to leave a mark. Bin Night is the hyperrealistic, kitchen sink drama which should provide Capaldi with a chance to explore the beauty of everyday experiences.
Instead, it is just an everyday experience. Sweet Illusions is a wonderful concept, and it highlights how strong a vocalist Capaldi is. There is truth and beauty to a handful of the songs here. Extract those, and you have a near-perfect example of an artist with domination in more than one field of expression. Later pieces like Through the Cracks find a soft, countrified sound for Capaldi, whose colloquial charm and adaptations of Scotland as the beating heart of his work is the key reason to listen in. Charming in moments, but those moments are not enough to pull the project together. Capaldi has a fascinating voice and that is enough to warrant a listen, though his attempted tonal and tempo changes lead nowhere. His articulation, however, is tremendous and highlights the rugged beauty of a singer-songwriter, with emphasis on the sound, rather than the writing.
