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Sirena is Spanish for siren, one of the mythical creatures whose singing was so beautiful that
sailors who would hear them would steer towards the sound and then dash
their boats on the rocks on which the creatures sat.
There is a great deal of irony in the fact that Cousteau's follow up to
their eponymous debut album is called Sirena. While the title fits with
the aquatic themed artwork and some of the song titles, the irony lies in
the fact that, if the album has one glaring weakness, it is the singing.
While it would be unfair to directly criticise Liam McKahey's vocal
ability, what is definitely true is that at times his voice simply does not
fit. However, for the opening couple of songs, this is not relevant. With
embarrassing wah wah and organ accompaniments, he sings lines like "There
ain't nothing so bad as a good man done wrong" and "Honey, would you listen
to me please". An attempt at a Scott Walker impression sounds more like
Tony Hadley doing a comeback show at a Darby and Joan club in
Blackburn. But, as the music and the lyrics are also mediocre, the voice
hardly matters.
However, the third track, Hungry Times, boasts a gorgeous trumpet intro
and delicate melody, and one seems to see more clearly where the songs are
truly being let down. When he sings, it is self-conscious, old-style
crooning, not his own voice. When you sing about your troubles, you have to
do it from your self, and not falsely.
While this trend of disappointment over McKahey's vocals does continue
throughout the album, on some tracks his singing finds a different level.
On Peculiarly You, the band opt for simple arrangements to capture a
smoky, late night vibe. McKahey's crooning ceases, as instead he sings
delicately into the mic with surprising vulnerability. And, when the band go
for a concerted attempt to recapture the sound of Walker on 'No
Medication', it is a resounding success.
However the best is saved for last, with the album's climax featuring
two brilliant and heartfelt songs. Last Secret of the Sea is an epic in
miniature, a nautical fairytale rich in imagination and magic, while the
closer Have You Seen Her? seems the most immediate and honest song. Though
there is a hint of Walker in there too, it is pitched perfectly, still remaining,
most importantly, plaintive and utterly genuine in its forlorn lovelessness.
Though its start is faltering at best, Sirena works its slow charm, and
we end up feeling an embarrassed affection for it. Though the undoubted
talent on display in the album is undermined by unnecessary crooning, we
still cannot help but like what is here. Nevertheless, the final track shows
overwhelmingly that when McKahey sings without trying to be what he is not,
the results are astonishing. The band will hopefully take note of that for
the future.
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