This CD comes encased in a beautifully illustrated 6-panel lyrics book.
What the critics have been saying about "Neon and Gold" (Fan reviews are at the bottom of the page):
Smother Magazine (www.smother.net), Editor's Pick by J-Sin, Mar 2006:
[+]This CD comes encased in a beautifully illustrated 6-panel lyrics book.
What the critics have been saying about "Neon and Gold" (Fan reviews are at the bottom of the page):
Smother Magazine (www.smother.net), Editor's Pick by J-Sin, Mar 2006:
Bobbing and weaving his way through a myriad of punchy indie-pop tunes, Dan Wallace finds himself cornered into writing a tremendously catchy and yet intriguing album. As wildly creative as Radiohead or Rufus Wainwright, and as poppy as Ben Folds, Mr. Wallace is also an accomplished musician lending his unique voice, guitar, bass, hand percussion, and keyboard skills to the mixture. Great songwriting is one part music and two parts lyrics to me and Dan nails each and every one with the accuracy of an Olympian.
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Performing Songwriter Magazine, Top 12 DIY Pick by Mare Wakefield, Jul/Aug 2006
Singing with the same suave whine that made you fall in love with Morrissey, Chicago-based artist Dan Wallace waxes poetic on his latest release, Neon and Gold. Rocking drums and multiple electric guitars contrast nicely with Wallace’s dreamy lyrics. “I fell upon a face tattooed in bronze / It had an air of grace, knee-deep in sin,” he sings in “Fell.” Stacked harmonies and classical guitar decorate “Ladies, Gentlemen,” while “Too Soon” carries a chaotic, circus-like air as Wallace pounds out dissonant chords on the piano while singing of illicit bargains and rebirth.
It would be too easy just to categorize the entire album as avant-garde, but there’s definitely something innovative about Neon and Gold. Maybe it’s the neo-psychedelic arrangements, the Alice-in-Wonderland lyrics or the smooth-as-silk delivery. Maybe we should listen again.
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The Big Takeover (Issue 58), by Mark Suppanz, May 2006
This Chicago-based songwriter/composer and frontman for The Pindrops (he's also scored music for theatre and film) has drawn apt comparisons to Rufus Wainwright and Ben Folds, mostly due to his music's unconventional song structures, whimsical lyrics, and a flair for the dramatic. Wallace prefers using traditional rock instrumentation for his waltz/cabaret-like compositions, peppering them with keyboard, organ, hand drums, and Elisabeth Johnson's sporadic violin. On the more rocking tracks such as "
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