(NOTE: Since we discussed a live appearance by Kristian Hoffman in this column recently, it only seemed appropriate to do a piece on the album that inspired the live gig.)
A few months ago Kristian Hoffman released his newest album titled FOP on the Kayo Stereophonic label. The 17 track disc is a fine example of his abilities as a songwriter, producer and musician. The material is entirely original and yet sometimes reminiscent of such other artists as Queen and Elvis Costello. Hoffman, however, prefers to look at it as “a combination of Bowie’s Ziggy Stardust and the Moody Blues’ Days of Future Passed.”
Whatever you call it, this CD is both imaginative and playful beginning with the opener, “Something New Is Born.” It’s a grandiose, beautiful ballad. The lyrics are what some might call “Wildean” and display Hoffman’s obvious writing skills: “What denoument is more utterly utter/Than God in his final involuntary shudder”? How about: “This harmonic rust that makes the change begin the semen in the eye of God”? (I’ve a “little friend” too but let’s not go there, mmmkay?)
The album, of course, also features the talents of the entire band which includes: Hoffman (keyboards/percussion/guitar), Joe Berardi (drums), William Bongiavani (bass) and David Bongiavani (lead guitar). The second selection is “I Can’t Go There With You”. This is an up tempo, power pop piece with backing vocals by Kristi Callan, drums by Dan Joeright and some great 12-string guitar work by Andrew Sandoval.
The third track is “Cassandra”. This has a touch of classical to it and is reminiscent of the Weimar Republic sound. It includes French horn and bassoon work by Probyn Gregory and Cavit Celayir-Monez and a string quartet. It also features a noteworthy harpsichord solo by Stephen Oremus.
The next number is the pointed “Evil”. This one contains some fitting guitar and bass lines vaguely reminiscent of late 1960s and 1970s radio. What sets it apart is the fun yet issue-filled wordwork: “And I know you’ll never quit it ‘cause/You’ll misquote some more Leviticus/Wheezing through your tracheotomy/Smirk and play the card of sodomy”.
“Out Of Habit” is up next. Again, listeners might notice how this one harkens back to his earlier work. Again, one will notice this is another example of Hoffman’s ability to write nice little numbers with meaningful lyrics.
The up tempo “Imaginary Friend” brings to mind images from silent movies and vaudevillian shows as Hoffman demonstrates his ability to employ a bit of old fashioned razzmatazz. It’s slightly reminiscent of songs from the early 20th century and is distinguished by horns and banjo by Gregory.
Selection seven is “Mediocre Dream” (which is not to be misconstrued with mediocre music)! This pop rock piece contains more notable work by a string quartet consisting of: Lisa Dodlinger, Cheryl Norman Brick, Alma Lisa Fernandez and Emily Wright. It’s got a nice backbeat and spooky guitar riffs to boot!
“Soothe Me” quickly follows here. It might just be yours truly but this one brings to mind the images of club-hopping and the excessive disco lifestyle popular years ago. Sometimes Hoffman’s ability to scribe clever lyrics makes one wonder if a tune is truly about the subject it so obviously seems to be though. Such is the case here. The fact that Prince Poppycock makes a guest appearance here makes it even more obvious to your crusty chronicler and yet . . . well, listen for yourself some time and see what you think.
Up next is “Stay”. It’s not a cover of the classic hit but another Hoffman original (like every other track on the CD). Hoffman takes lead guitar here on what may be one of the more commercial cuts. It certainly has potential and—as always—there’s no shortage of good lyrics here either: “Like philosophy left us by a dead Liverpudlian wag/If I tried out the words that you cried would it be such a drag?”
“Blackpool Lights” follows evoking images of a man walking alone in the night. This is a slower, piano-driven ballad that serves as a pleasant aural pallet cleanser from the faster moving cuts. It’s definitely soundtrack material with just enough meaning to keep things interesting.
The next song is “Little Brother”. This seems to be a tune of both tribute and confession. It contains a disturbing moment or two—“you drowned those kittens in a sack”--and yet somehow generally remains light and fun . . . much like the next number . . .
“Hey Little Jesus” almost earned Critic’s Choice. Again, this is a little disturbing and yet still light and enjoyable. Perhaps it’s just scribbling scribe but it isn’t totally unsurprising that an artist who is gay who was raised as a Mormon would come up with this one.
Regardless, it certainly is one of the best cuts on this disc. It’s an out and out satire on religion and martyrdom. If you pay attention to Hoffman’s vocals he certainly seems to be having fun exercising his vocal chords on this one as well.
Hoffman once more picks up the guitar on “Alignment”. With a little help from Earle Mankey this is another example of a cut that is vaguely reminiscent of Elvis Costello. Check out the combination of wordwork and guitar chords. See what you think. (By the way, “You open wide for chocolate”? Don’t we all?)
“Ready Or Not” is next in line. Again, Hoffman takes a satirical “sweet and sour” approach. This one is also like a show tune with an interesting combination of music and meaning.
Critic’s Choice here goes to “My Body It”. The music is power pop and the lyrics display Hoffman’s self-awareness and personal concerns. Hey! He not only manages to use the word “nomenclature” but even inserts it into the chorus: “And so I call my body ‘it”/The nomenclature seems to fit”.
Filled out with harmonic/backing vocals, Gregory’s horns and more of Sandoval’s 12-string guitar, this one is a winner. It’s a catchy tune. And even straight white boys with funny hats can dance to it.
The second last song is “Mockingbird”. Once you open the booklet that comes with the CD it becomes unclear if it’s mockingbird or mocking bird. Maybe it’s both. Maybe it doesn’t really matter. Perhaps all that really matters is that this one moves along quite nicely leading right up to the final track.
The album’s closes with “Strange Seed”. This one includes some suggestive, evocative lyrics as Hoffman deals with some type of identity quest over a theatric musical base. It is the finale to an album that is at times both elegant and avant garde, both glam rock and modern orchestral symphony.
Hoffman’s lyrics are both fun and thoughtful—both Abbott and Costello. His music is both operatic rock and theatrical show tune—both Queen and “queen” with a body of original compositions that might just occasionally leave listeners a bit less composed. Fop is fun.
My name is Phoenix and . . . that’s the bottom line.
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