August Wells is a project headed by New York-based Dubliner Ken Griffin (formerly of Rollerskate Skinny, who came with none other than John Peel's seal of approval) and American pianist John Rauchenberger (who comes from a classical and jazz background). 'Madness Is The Mercy' is their second album.
 
Ken Griffin has a very distinctive voice and has been compared to heavy-weights from Scott Walker to John Grant and Nick Cave. My own initial thoughts were of fellow Irishman Neil Hannon, or the singer from the Crash Test Dummies. 
 
In a recent Hot Press interview Ken Griffin explained that August Wells can play live as a two-piece, but also as an eight-piece band. It is always commendable when songs stand up in a stripped down setting. At the same time I can well imagine the eight-piece set up suiting these works. Instrumentation is the standout element on this album for me. We hear violins, flutes, brass and backing vocals, all employed very effectively to embellish the already tuneful compositions. The sound is pretty and the vibe mellow, sometimes reminiscent of musicals, other times of 70s-style easy-listening. One imagines Griffin to be a Van-fan.

Life observations are the main subject matter. Griffin often ponders on time; the luxury or the lack of it. A universal topic that many listeners will be able to relate to: “Here in the wild under blue skies time doesn't try to pass me by” conjures up a peaceful image. I also like: “There's nothing like the dying light of a wasted day”.
 
At the same time the album contains some unusual lyrics: “I don't mind waking up on the kitchen floor. Men like me we kinda think that's what a kitchen floor is for”; “Just put a recipe for good soup on my gravestone”; “I saw a wealthy woman squeezing avocados, she treats other people like rumours from the shadows”.  There is no denying that Griffin is an original songwriter, but I find such lyrics harsh on the ear. Repeated listening managed to make me stomach lines such as “The snot has caked against my pants” (Arthur Lee), but alas the same did not work for me with August Wells.
 
Griffin has a habit of drawing out syllables and does so on virtually every track: “Stay-ee-ay out of that nigh-ee-igh-ee-ight”, “Here in the wi-ee-ild under blue sky-ee-ies...” Thankfully the varied and often quite lush instrumentation as well as the cheerful melodies go quite some way to make amends for this.
 
'Come On In And Out Of That Night' is the standout track. 'Katie Call Home' (lovely flute) and 'Bread And Water' (very nice piano intro) appealed as well. If forced to describe this album in one word I would choose, interesting.
 
6/11
 
Helen