ALBUM REVIEW: Out of the Game — Rufus Wainwright
Rufus Wainright – “Out of the Game” (2012, Decca)
Reviewer: Matt Sanderlin
“Out of the Game.” I see self-referencialism isn’t dead these days…
Rufus Wainwright, flamboyant son of legendary musicians Loudon Wainwright III and the late Kate McGarrigle, really has been a bit out of the game lately. Before 2010′s All Days Are Nights: Songs for Lulu, Wainwright’s last studio album was the unfocused Release the Stars in 2007, which garnered an average critical response (a resting 72/100 on Metacritic) and even less enthusiastic fan feedback. And while Songs for Lulu was quietly beautiful, it was a stark departure from the radiant baroque pop Wainwright has become known for.
2012′s Out of the Game sees a nearly-fully revived Wainwright returning to the studio with vibrant energy and unhindered creativity, by way of Poses-era orchestral sounds and trademark baroque-pop melodies. The title track single even recalls Wainright’s folk-pop influences from his early, self-titled days, with its chilled tempo and squawking guitar counterpart.
Bigger and better still are the orchestrally-escorted pieces that arrive early in the tracklist, including the Elton John-influenced “Jericho” and the lavish “Welcome to the Ball.” Where strings and trumpets (respectively) are absent, a newly-discovered love for synth sounds is largely present — Take for example, the Queen-esque “Bitter Tears.” The sunny synth initially launches the track, building a complex mid-ground layer, perfectly designed for Wainwright’s instantly-memorable melodies to arrive shortly thereafter. Later in the track — As the vocal harmony swirls begin to expand in size and volume, so does the synth rise in dynamic and drive, giving the arrangement strong texture and forceful melodic charge.
“Perfect Man,” another synth-driven masterpiece, is a characteristic display of Wainwright’s skillful melodic strengths — And while the synth is less prevalent on this track, this lessened emphasis allows more room for Wainwright’s scaling melodies to shine. Within the first 30 seconds, Wainwright’s unforgettable melodies will have the right side of your brain doing summersaults in pure, joyous ecstasy.
Not all of the tunes are as successful as the aforementioned highlights. “Barbara,” while groovy and still gratifying, is slightly weakened by substantial segments of melodic drone and a somewhat lengthy duration (“Respectable Dive” suffers from similar ailments, with the addition of a sleepy tempo). “Song of You” is somewhat lacking as well; stellar lyrics, but a fairly stale melody and a stifling tempo to counter.
Still, Wainwright’s work on Out of the Game is undeniably admirable. Enough of the tunes here shine in their creative skin that the album is worth owning in entirety (as opposed to a partial selection), and these successes should also restore any faith lost in the high-caliber songwriting of one Rufus Wainwright.