Brian Larney and The Town Hall

His powerpop cross acoustic cross rock sounds are similar to Neil Flinn (Crowded House) and Glenn Tilbrook and his 11 track album The Starting Line is just the beginning for Connecticut based singer song writer, Brian Larney : a man with some talent, and a forceful will to give this album all he has.

“I wanted to do this so bad, it feels like I ‘tricked’ myself into making it, happen” Larney says, having always ‘hid’ within bands and finally finding his source of strength to go out there on his own.

“I really had to bust through the fear and the dream aspect of this and just do it”.

And that he did, seasoning his imaginative songs with a splash of Americana, back porch harmonies and shimmering twang.

The innocently beautiful lyrics and toe tapping beat of Why God Why, and a Bob Evans like quirky address of “spiritual oppression with graceful roots-pop” with Solace, you really get a feel for his easy listening and well thought out style of storytelling.

With an element of soft rock, Closed Door comes in softly with a chorus you’ll find yourself humming in no time, and from a fresh, upbeat perspective on the third wheel dilemma, You, Me, and Alison will make you feel like grabbing your friends and saying ‘let’s just go for it’.

“I like the idea of three people as a team against the world, everybody usually seems to do two people against the world”, he says.

Brian’s distinctively unique voice will lift you up, and this album is simply delightful. So here’s your warning shot! Don’t be left dazed at The Starting Line, join Brian Larney in the race and soak up all the catchy hooks he has to offer. - indiemunity

Brian Larney has spent much of his musical career contributing to the efforts of bands. All the while he was building up a significant catalog of songs. Stepping out on his own, Larney revealed a refined songwriting style similar to Neil Finn and Andy Partridge. Larney recently released his second album, At The Starting Line. It is a quietly brilliant collection of observational songs with a distinctive 1970’s flair.

Larney opens with the catchy energy of "You Me and Allison". The song is a moment of escapist fancy amidst strumming guitars and a melody line that won't quit. "Solace" is a quiet country-fueled number about a young lady who struggles to maintain faith in a world governed by Hobbesian actors. . Larney’s melody is catchy, and the arrangement wraps perfectly around it. "Closed Door" stumbles along in uncomfortable fashion, relying on a memorable melody to pull a troubled and messy arrangement through.

Larney digs into an early rock sound somewhere between The Beatles and Elvis Costello on "Whistling Past The Graveyard". Larney turns up the wattage on charm on a song you'll have difficulty getting out of your heart. Things take an angular turn on "The Plaintiff", with Larney laying down some deliciously discomfiting guitar licks. The transition into a catchy chorus is a brilliant turn. "Before The Shadows Grow Too Long" is a pensive love song that underscores Larney's talent for sweet melodies. His writing style is reminiscent at times of James Taylor, and his sound would have sold a lot of records in the late 1970's.

"Dogma (On A Leash)" has a bluesy feel that's accessible and fun. The "don't tread on me" message is delivered in low key fashion to the ups and downs of a dynamic and memorable melody. "Why God Why" is a gentle folk/pop anthem with a deceptively catchy chorus. Larney rises up into a sweet tenor voice here, gliding along on a melody that's as smooth as silk. "Chain Of Words" lopes along at a fast walk, with Larney pacing the song with an accusatory but well voice vocal. The song intrigues based on its mix of musical lightness and emotional disturbance. "Chance" has an urgent feel, like an appeal not made but nonetheless hoped for. Larney rails against the unfairness of it all over a dynamic, guitar driven arrangement that's a real treat. Larney brings listeners back to Earth with "Never Argue With The Devil", a singer/songwriter ballad that dwells in melancholy. There's a baroque beauty to the arrangement that is teased out by the Larney's metronomic acoustic guitar.

Brian Larney is a pleasant surprise on At The Starting Line. He manages to write accessible songs with melodies you'll walk away humming. Larney misses once in a while, perhaps, and his occasional pitch issues are a distraction, but his charisma and voice are distinctive enough to pull off anything he wants to do.

Rating: 4 Stars (Out of 5) - Wildy's World

Connecticut-based singer, guitarist, and composer, Brian Larney, takes the spotlight on At The Starting Line. The folk music-based material contains a bit of Southern rock, contemporary pop, and nostalgic Americana. The eleven song release contains catchy melodies and rhythmic textures that are pure pop gold. The pop/rock anthem, "Closed Door," is a perfect song with a little Southern rock influences and lush harmonies. "Solace" is a little classic ditty with jangly guitars and an uppity tune that is highly-reminiscent of the late-Owsley. "Never Argue With The Devil" opens with jingly guitar lines and soft vocals in the vein of Fountains Of Wayne and the late-Owsley. "You Me And Allison" is an upbeat, jingly, pop-focused tune with swishy percussion and full guitar sounds. The classic folk tunes are more rock-inspired than folk, but there is an element of nostalgia inherent in similar songs from America's folk explosion in 1960's and 70's. Still, Brian puts a more modern spin on the music with a little Southern rock and contemporary folk. Each song gives us something to remember and that is definitely a positive quality. ~ Matthew Forss - Inside World Music

Connecticut-based singer, guitarist, and composer, Brian Larney, takes the spotlight on At The Starting Line. The folk music-based material contains a bit of Southern rock, contemporary pop, and nostalgic Americana. The eleven song release contains catchy melodies and rhythmic textures that are pure pop gold. The pop/rock anthem, "Closed Door," is a perfect song with a little Southern rock influences and lush harmonies. "Solace" is a little classic ditty with jangly guitars and an uppity tune that is highly-reminiscent of the late-Owsley. "Never Argue With The Devil" opens with jingly guitar lines and soft vocals in the vein of Fountains Of Wayne and the late-Owsley. "You Me And Allison" is an upbeat, jingly, pop-focused tune with swishy percussion and full guitar sounds. The classic folk tunes are more rock-inspired than folk, but there is an element of nostalgia inherent in similar songs from America's folk explosion in 1960's and 70's. Still, Brian puts a more modern spin on the music with a little Southern rock and contemporary folk. Each song gives us something to remember and that is definitely a positive quality. ~ Matthew Forss - Inside World Music

It seems that within the heart and soul of many successful band members, there always lies that
powerful question of, “What if?” Most specifically, “What if I were to try and do this on my own?’ And, for years, band members have been stepping out of the shadows of their comfort zones and have tried to forge ahead with their personal visions. In some cases it’s been wildly successful while others have unfortunately met with far less success.

Rising artist, Brian Larney, knows all too well those introspective longings and questions. A longtime member and collaborator within local Northeast bands, Larney has long felt the urge to venture out solo, seeing if his particular brand of pop-rock could stand on its own.

“It’s a triumph of the spirit,” the Bridgeport, Connecticut artist says laughing playfully. “I always hid within bands so everything about this is like starting over, hence the title, At The Starting Line.”

The product of a longtime musical education, Larney spent his early years honing his songwriting and focusing on the “art of harmonizing.”

“I would get to school at 6:00 AM and go into the piano practice room and pick out songs and work on harmonies,” he says.

And while his initial efforts resulted in over the top, “overly complicated 7-minute opuses,” Larney eventually found his way, merging his personal tastes as a listener, which encompass everything from pop to bluegrass and everything in between, together with his work as a traveling musician where he worked with bands playing everything from pop-punk, power pop, post-punk, and hardcore. Through all of those experiences, Larney found the strength and the skill to step out of the shadows and being casting one of his own.

And with the early verdicts coming in, Larney has nothing to worry about.

Larney’s number one coup was in snagging Americana songwriter, David Mayfield, to produce, the singer/songwriter lending a refreshing tone to Larney’s work. But, while Mayfield’s production keeps things clean and clear, it’s Larney and his compelling songs that are the star here and they don’t disappoint.

Fueled by Larney’s humble yet smooth vocals and an eclectic sense of composition that fuses soulful harmonies, tasty indie pop-laden hooks, and elements of country and Americana together in a highly listenable gumbo of sound. There are elements of bands like Wilco and others to be found but, through and through, this record resounds with Larney’s own signature.

That signature is most notably heard on the album’s highlight track, “Why God Why,” which finds the artist dealing with the loss of his father. It’s a simple arrangement, surprisingly mid-tempoed and driven ahead by subtle percussive notes as Larney sings, “Wake up, Dad, I need you now/Is this the place you were laid down/And why are you still sleeping?/And I ask/Why, God, why?” It’s powerful, haunting, and lovely all within it’s two and a half minutes and captivates the listener.

Not afraid to tackle other heady topics, the artist wrestles with religion on the bluesy “Dogma (On a Leash),” calling out his take on swarthy preachers who repeatedly speak with “forked tongue” and coax parishioners into giving money that they use to line their own pockets. Soulful pockets of both acoustic and electric guitar bolster the track, lending it a vital, swampy note.

“Whistling Past the Graveyard” is a track that makes great use of the artist’s pop leanings, featuring great harmonies, killer keyboard chops, and a toe-tapping arrangement, making it another favorite. Ditto that for album opener, “You, Me, and Alison” which captures an expansive Americana vibe, perfect for long summer road trips, and harnesses the great line, “Jesus in your tears.” Flipping the tables, “Solace” slows things down with a lyrical journey that explores spiritual oppression with stringent honesty, offering up the thought that, “There ain’t no difference if you’re good on the outside/Still got your demons locked up inside your heart.”

Merging genres and writing honest, poetic, insightful lyrics that speak to the heart and doing so while providing a great hook, Brian Larney’s At the Starting Line is a masterful work. And while Larney may have been content to rest in the shadows for some time, he’s going to have to get adjusted to the spotlights because if he keeps making music like this, they’re going to be shining on him for a long, long time. - Along The Journey

It seems that within the heart and soul of many successful band members, there always lies that
powerful question of, “What if?” Most specifically, “What if I were to try and do this on my own?’ And, for years, band members have been stepping out of the shadows of their comfort zones and have tried to forge ahead with their personal visions. In some cases it’s been wildly successful while others have unfortunately met with far less success.

Rising artist, Brian Larney, knows all too well those introspective longings and questions. A longtime member and collaborator within local Northeast bands, Larney has long felt the urge to venture out solo, seeing if his particular brand of pop-rock could stand on its own.

“It’s a triumph of the spirit,” the Bridgeport, Connecticut artist says laughing playfully. “I always hid within bands so everything about this is like starting over, hence the title, At The Starting Line.”

The product of a longtime musical education, Larney spent his early years honing his songwriting and focusing on the “art of harmonizing.”

“I would get to school at 6:00 AM and go into the piano practice room and pick out songs and work on harmonies,” he says.

And while his initial efforts resulted in over the top, “overly complicated 7-minute opuses,” Larney eventually found his way, merging his personal tastes as a listener, which encompass everything from pop to bluegrass and everything in between, together with his work as a traveling musician where he worked with bands playing everything from pop-punk, power pop, post-punk, and hardcore. Through all of those experiences, Larney found the strength and the skill to step out of the shadows and being casting one of his own.

And with the early verdicts coming in, Larney has nothing to worry about.

Larney’s number one coup was in snagging Americana songwriter, David Mayfield, to produce, the singer/songwriter lending a refreshing tone to Larney’s work. But, while Mayfield’s production keeps things clean and clear, it’s Larney and his compelling songs that are the star here and they don’t disappoint.

Fueled by Larney’s humble yet smooth vocals and an eclectic sense of composition that fuses soulful harmonies, tasty indie pop-laden hooks, and elements of country and Americana together in a highly listenable gumbo of sound. There are elements of bands like Wilco and others to be found but, through and through, this record resounds with Larney’s own signature.

That signature is most notably heard on the album’s highlight track, “Why God Why,” which finds the artist dealing with the loss of his father. It’s a simple arrangement, surprisingly mid-tempoed and driven ahead by subtle percussive notes as Larney sings, “Wake up, Dad, I need you now/Is this the place you were laid down/And why are you still sleeping?/And I ask/Why, God, why?” It’s powerful, haunting, and lovely all within it’s two and a half minutes and captivates the listener.

Not afraid to tackle other heady topics, the artist wrestles with religion on the bluesy “Dogma (On a Leash),” calling out his take on swarthy preachers who repeatedly speak with “forked tongue” and coax parishioners into giving money that they use to line their own pockets. Soulful pockets of both acoustic and electric guitar bolster the track, lending it a vital, swampy note.

“Whistling Past the Graveyard” is a track that makes great use of the artist’s pop leanings, featuring great harmonies, killer keyboard chops, and a toe-tapping arrangement, making it another favorite. Ditto that for album opener, “You, Me, and Alison” which captures an expansive Americana vibe, perfect for long summer road trips, and harnesses the great line, “Jesus in your tears.” Flipping the tables, “Solace” slows things down with a lyrical journey that explores spiritual oppression with stringent honesty, offering up the thought that, “There ain’t no difference if you’re good on the outside/Still got your demons locked up inside your heart.”

Merging genres and writing honest, poetic, insightful lyrics that speak to the heart and doing so while providing a great hook, Brian Larney’s At the Starting Line is a masterful work. And while Larney may have been content to rest in the shadows for some time, he’s going to have to get adjusted to the spotlights because if he keeps making music like this, they’re going to be shining on him for a long, long time. - Along The Journey

Have you ever been the guy quietly jamming along in this band or that band but know deep down inside there’s a solo artist inside?

Brian Larney will be At The Starting Line ready to unleash his on July 18 (2013).

Larney was raised in the Northeast and has always had a fetish for well-crafted songs. He used to arrive at school early so he could go in the piano room and practice harmonies.

He refers to his early works as “overly complicated 7-minute opuses.”

While playing in a wide array of bands, including the genres pop-punk, power pop, post-punk, and hardcore, Brian was in the background building his catalog of solo creations.

A self proclaimed sucker for hooks, Larney’s style of music is very uplifting and melodic. His acoustic guitar and a simple, expressive voice lead us through a series of well crafted songs resulting in an album you will keep in rotation long after it’s over.

“It’s a triumph of the spirit,” the Bridgeport, Connecticut artist says laughing playfully. “I always hid within bands so everything about this is like starting over, hence the title, At The Starting Line.

This is everything you enjoy about Wilco, Glenn Tilbrook, and Neil Finn wrapped up in one package.

Teaming up with David Mayfield at SUMA Recording Studios for production duties, Brian was able to step away from his sense of perfectionism and learn how to accept a more organic approach to recording.

“In the past, when I recorded, I tried to make everything perfect. I would do so many takes. I squeezed the life out of the music,” Larney explains. “David brought out this air of ‘acceptance’ in the music where expression was paramount.”

This album will not disappoint you. Head on over to Brian’s website then connect with him on Twitter or Facebook.
At The Starting Line will be available on July 18 (2013). - Middle Tennessee Music

This is quite a cool set. It doesn’t fit neatly into any one category, though. Some of it feels closer to alternative rock. Other bits are more folk-like. It wanders into jazz and blues territory. It’s all heartfelt and effective, though. I suppose you could call this “Americana” and be done, but I’m not sure that would be doing it justice. Whatever you call it, though, check this one out. It’s great.

Track by Track Review

You Me and Allison

There is a killer old school retro rock meets alternative rock and singer/songwriter vibe to the opening number. It’s bouncy, energetic and just plain fun. It’s a great way to start the set in style.

Solace

This one is a bit mellower, but still has an energetic pace to it. It’s much more of a country meets folk and Americana kind of vibe. It’s not the instant winner that the opener was, but it’s got a lot of down home charm and style. It’s another cool tune.

Closed Door (featuring Rebekah Jean)

This starts even mellower on acoustic guitar, but turns out to quite a cool mid-tempo rocker. The alternative rock meets Americana vibe is quite strong on this and it might be the most effective tune to this point on the disc.

Whistling Past the Graveyard

Intricate, fast paced acoustic guitar opens this one. The track turns into a dramatic high energy rocker with some killer retro sounds from there. This is bouncy and fun. It’s also got a great mood and tone to it. In fact, it is one of the best pieces on the whole disc. This is just plain cool. There’s a cool piano based instrumental section later that even brings some jazz elements to play. There is definitely a bit of a 1960s element to this song.

The Plaintiff

This energetic rocker is a big change. It’s very much an alternative rock number. It’s based on a rather aggressive, but still quite catchy riff. While not the strongest song here, the variety it brings to the table earns it some extra points.

Before the Shadows Grow Too Long

Bringing some major contrast, this is a mellow, acoustic based number as it starts. That early section is essentially a ballad. As it works out after the first verse, it still remains more or less balladic. There’s more energy and some percussion, though. The chorus even has a little bit of a jazz vibe at times. Otherwise, this is more or less a folk-oriented singer/songwriter type of piece. However it’s sliced, though, it’s an effective and quite tasty number. It really has an ageless vibe to it. There are definitely folk (and even world music) overtones on this one at times.

Dogma (On a Leash)

Old school blues and folk music are the order of the business on this tune. It’s classy and cool. It’s acoustic based, but that doesn’t mean it’s slow or mellow or a ballad. There is some great slide playing here and this is energized and just oozes cool. There is some electric guitar later in the piece, but it’s still in keeping with that old school blues sound.

Why God Why?

This is melodic and tasty. It’s more of a pure alternative rock song. It’s good, but not on the same par as some of the other music here.

Chain of Words

Bouncy and classy, this number has a retro rock meets pop vibe to it. It’s energetic and quite fun. It has some tasty melodic guitar soloing and some great layers of sound and texture. Some symphonic strings add nicely to the flavor of the cut. It’s one of the classier numbers here. It’s also a bit of variety.

Chance

The percussion really drives this. The vocals are delivered in an almost stream of consciousness way. The guitar chordings have a rather jazz meets rockabilly vibe to them. This thing is among the coolest pieces of music of the whole set. The rockabilly guitar soloing is not only very effective, but it’s also magical. This might be my favorite tune of the whole disc.

Never Argue With the Devil

The closing tune is just Larney on acoustic guitar and vocals. The reference, given that basis would seem to be folk music. Frankly, though, it makes me think more of The Beatles for some reason. The guitar playing is intricate. The song structure is tasteful and tasty. Normally I’m not a big fan of the concept of closing an album with something mellow. In the case of this one, though, I think it works quite well. - Music Street Journal

This is quite a cool set. It doesn’t fit neatly into any one category, though. Some of it feels closer to alternative rock. Other bits are more folk-like. It wanders into jazz and blues territory. It’s all heartfelt and effective, though. I suppose you could call this “Americana” and be done, but I’m not sure that would be doing it justice. Whatever you call it, though, check this one out. It’s great.

Track by Track Review

You Me and Allison

There is a killer old school retro rock meets alternative rock and singer/songwriter vibe to the opening number. It’s bouncy, energetic and just plain fun. It’s a great way to start the set in style.

Solace

This one is a bit mellower, but still has an energetic pace to it. It’s much more of a country meets folk and Americana kind of vibe. It’s not the instant winner that the opener was, but it’s got a lot of down home charm and style. It’s another cool tune.

Closed Door (featuring Rebekah Jean)

This starts even mellower on acoustic guitar, but turns out to quite a cool mid-tempo rocker. The alternative rock meets Americana vibe is quite strong on this and it might be the most effective tune to this point on the disc.

Whistling Past the Graveyard

Intricate, fast paced acoustic guitar opens this one. The track turns into a dramatic high energy rocker with some killer retro sounds from there. This is bouncy and fun. It’s also got a great mood and tone to it. In fact, it is one of the best pieces on the whole disc. This is just plain cool. There’s a cool piano based instrumental section later that even brings some jazz elements to play. There is definitely a bit of a 1960s element to this song.

The Plaintiff

This energetic rocker is a big change. It’s very much an alternative rock number. It’s based on a rather aggressive, but still quite catchy riff. While not the strongest song here, the variety it brings to the table earns it some extra points.

Before the Shadows Grow Too Long

Bringing some major contrast, this is a mellow, acoustic based number as it starts. That early section is essentially a ballad. As it works out after the first verse, it still remains more or less balladic. There’s more energy and some percussion, though. The chorus even has a little bit of a jazz vibe at times. Otherwise, this is more or less a folk-oriented singer/songwriter type of piece. However it’s sliced, though, it’s an effective and quite tasty number. It really has an ageless vibe to it. There are definitely folk (and even world music) overtones on this one at times.

Dogma (On a Leash)

Old school blues and folk music are the order of the business on this tune. It’s classy and cool. It’s acoustic based, but that doesn’t mean it’s slow or mellow or a ballad. There is some great slide playing here and this is energized and just oozes cool. There is some electric guitar later in the piece, but it’s still in keeping with that old school blues sound.

Why God Why?

This is melodic and tasty. It’s more of a pure alternative rock song. It’s good, but not on the same par as some of the other music here.

Chain of Words

Bouncy and classy, this number has a retro rock meets pop vibe to it. It’s energetic and quite fun. It has some tasty melodic guitar soloing and some great layers of sound and texture. Some symphonic strings add nicely to the flavor of the cut. It’s one of the classier numbers here. It’s also a bit of variety.

Chance

The percussion really drives this. The vocals are delivered in an almost stream of consciousness way. The guitar chordings have a rather jazz meets rockabilly vibe to them. This thing is among the coolest pieces of music of the whole set. The rockabilly guitar soloing is not only very effective, but it’s also magical. This might be my favorite tune of the whole disc.

Never Argue With the Devil

The closing tune is just Larney on acoustic guitar and vocals. The reference, given that basis would seem to be folk music. Frankly, though, it makes me think more of The Beatles for some reason. The guitar playing is intricate. The song structure is tasteful and tasty. Normally I’m not a big fan of the concept of closing an album with something mellow. In the case of this one, though, I think it works quite well. - Music Street Journal

We're a new band...no press yet! - TBK

We're a new band...no press yet! - TBK

It’s not enough that I really enjoyed Stop, Look & Listen, the debut album from Bridgeport, Connecticut’s Lines West – now comes the 2nd solo album from the band’s singer and guitarist, Brian Larney. Jupiter With You is an 11-track brightly painted musical painting, shifting from sparking pop to darker, non-linear styles, all the while carrying the listener on an aural train ride that takes you through different territories.

From the impossibly catchy opening song, “Too Many Days Of The Week”, you know you’re going to hear finessed arrangements, hooks, harmonies and melodies. This continues with “I Just Don’t Feel Like I Used To” and “I’m Out Of Hope You’re Out Of Reach” – a sing-song in the classic sense of the word – back-to-back, these two reminded me of the kind of great POP (emphasis) that Matthew Sweet used to make. The songs are short; crisp and powerful; an economic guitar solo here (clean, shimmering riffs); an organ embellishment there. “Straw Man” has a warm and sweet country feel wrapped around rather somber lyrics (although there’s hope in the chorus). “Long Enough” has a neat, early ’60′s vibe with its strident rhythm and echo-ey guitar figures. “G&T Goodbye” takes an interesting fork with its opening synth riff which recalls a few ’80′s pop items – again, an interesting mix of styles.

Jupiter With You is a wholly satisfying musical meal. You’re filled but never over-stuffed. And if all that wasn’t enough, here’s another Popdose exclusive: the video for “Lay Down Your Arms”. So have yourself a moment to savor: - PopDose

There has been a very strong movement of indie pop happening that has seen it fusing together with a raw folk and Americana based sound making this style one of the most sought after from fans and critics alike. With his sophomore album Jupiter With You, Brian Larney (co-founder of Lines West) has teamed with Grammy-nominated producer David Mayfield to deliver an album that pulls together several styles into one compelling listening experience that will surely satisfy the listener. Lead single “Too Many Days in the Week” carries you into the album and quickly gets you singing along with the “yeah yeah yeah” that ring out in the background as the guitar licks lace the song giving you a great introduction of things still to come. As you press forward, Larney uses his honest and laid back vocal to deliver lyrics with depth and meaning to them surrounded by a floaty pop feel on “What I Knew Then,” the feel good vibe of “If You Please,” and the rock-n-roll influence of “Long Enough.” A vintage folk inspired sound shines through on the slower paced songs “Lay Down Your Arms” and album closer “Sinking Ship,” which helps to bring a whole different element to the already strong album. With melodies that are designed to carry the incredible lyrics and the live feel sonically, this album doesn’t feel like something new to today’s market, but rather like a lost record from the late 60’s that has been recovered for our benefit today. - One Stop Country

By Elizabeth Learned, 9/6/2014

Author Rating: 4.5 Stars

Brian Larney’s new release, Jupiter With You, has an amazing sound that gives you the chance to focus on the music behind the vocals. Larney is a singer-songwriter whose melodic voice is great to listen to, and he sings beautiful lyrics about many topics.

One of the songs, “Too Many Days in the Week,” begins with a stirring guitar beat before you hear Larney’s voice, followed by the sounds of harmonizing vocals in the background. Larney has a beautiful voice and while the vocals are so simple, they capture the ear due to the beat of the music and the meaning behind the lyrics.

There is a whimsical quality to the album, as Larney’s vocals are almost hypnotic, giving you a sense of peace as you listen to the music on each track.

Since the songs on the album are simple and have a soft sound, the music has just the right beat and quality so you can concentrate on both the vocals and what the lyrics are about. The songs give an air of calm since you can listen to the album while just sitting at home.

With this album, you get a mix of both music and vocals as they blend together in amazing harmony. Stand out tracks include “Too Many Days in the Week,” “Lay Down Your Arms,” and “Long Enough.” - The Celebrity Cafe.Com

Connecticut recording artist Brian Larney’s White CD stays within lovely patterns of melodies, harmonies, and pop perfection song craft. That is an approach that works wonders for Larney’s songs. His voice is another part of his magic. It’s so refreshing to hear a pop singer carry so much of the song with his vocal. There isn’t any song that this male singer-songwriter-multi instrumentalist cannot put a sunny musical spin to. This fourth album is a treasure trove for the ears.

Opening cut “Bad Things” charms the listener with its amicable folk-pop catchiness. Larney’s voice is a long, rangy instrument of its own, and he rides his vocal line with bright energy. As the song is so inviting, light touches of coos, organ, and acoustic guitar shine alongside the vocal line in a way that recalls The Beatles and many other melody strong artists.

“Enchanted By The Moon” moves with a gentle push from its backbeat. Over that groove rides Larney’s cool vocal sustains and bright coos. His voice recalls the warmth of Elvis Costello, especially as he’s accompanied by a swirl of organ and a slapping acoustic chord progression. This deferential tune uses the moon as a metaphor for all sorts of enchantments, making this piece a natural soundtrack for any happy evening event.

Continuing in this peppy pop milieu is “A Beautiful Way.” Its hooky chorus catches the ear with its simple but memorable lines. Larney’s happy, forward looking philosophy shines through in each verse and his sweet, charming sustains carry it all with a brilliant sparkle, like sunlight reflecting on colored glass or running water.

“This Man Is An Island” benefits from a flowing sensation, the way Larney gives his song a purposeful motion. His warm, sweet vocal assertions give it a second motional tug, and a piano interplay this song feel as familiar as something we’ve known all our lives even though it’s wholly new and fresh. Emotive lyrics come to three dimensional life as Larney’s vocal expression grows far and wide in its projection.

Larney makes his lyrically sad song “My Hands Are Tied” feel happy with its inviting chorus and its bright piano progression. An electric guitar phrase takes it to a higher level of pop buoyancy, forcing Larney to keep things motivational at the microphone, which he handles with much aplomb.

One crestfallen number here is “The Devil And I,” which feels as regretful as such a paring should be. Larney carries us through the maze of dark possibilities with a quieter vocal, showing his prowess within this context too. His smooth application gets a boost from an organ swirl as well as his keen sense of harmonies, backing voices that come in with a majestic sweep.

“I Hate Being In Love” comes in with a bopping groove and slapping guitar and organ chords. Larney’s voice sweeps over all of the instrumentation, a polite contrast, with a breeziness that belies the lyrical truth of his song. He sounds too happy to hate what he has, making this a facetious poke at the interpersonal quirks in romantic relationships.

“Even Though” commences with a tinkling of piano notes the remind of The Beatles, The Carpenters, and many other combos who built their songs around engaging melody lines. Larney’s emotive vocal goes into affective sustains, milking the feeling in this piece for all of its worth.

Close out track “The Crossing” follows a different drum. With sweeping harmony vocals, Larney sings in a darker tone about not going too far, not overstepping one’s bounds. Here, he applies his range to a moodier piece yet has the same success because his voice is special and he knows how to use it. His weave of instruments, too, gives this one an intriguing texture.

Larney, who produced his recording at Back Room Studios in Black Rock, Connecticut, offers a CD that is made for our anxious, depressing, changing times. He can keep his head and ours above water with his bright melodies and with his sunny lyrical catharsis. - Bill Copeland Music.com

BRIAN LARNEY/White: A hard charging roots rocker that wears several musical hats simultaneously blasts out of the speakers here with a smoking country rocker/solo date that is right in the pocket for giving the genre a well needed kick in the pants to bring new ears into the tent. Having really sharpened his writing to the point of you not being able to hear the writing at work, this cat has too much on the ball to be a well kept secret for long. Well done throughout.
(Nunya) - Midwest Record