Mark Lanegan
Scraps At Midnight

THE REVIEW

Here I am talking once again about the legendary Mark Lanegan and this excellent work that increasingly reflects the mood and personality of the singer-songwriter.

It's 1998, and Lanegan is increasingly tested by the legal troubles that have directly involved him (it seems he was "caught" buying drugs from a dealer); the climate has led him to isolate himself in the usual town of Palm Desert and record this work.

The album opens with "Hospital Roll Call," a very dark piece that somewhat recalls the tribal rhythms of the Native Americans. The second track "Hotel" has a chilling melody (in my opinion, the most beautiful track) followed by "Stay," which vaguely recalls the songs of Cat Stevens.

We are a quarter of the way through the work and attention: the risk is that of becoming hypnotized, not because the album is boring, but because it makes your mind soar, reaching tones and melodies worthy of the legendary Tom Waits. I mention Waits because the following tracks, "Bell Black Ocean," "Last One In The World," and "Wheels," heavily reflect the artist, with tender and melodic guitar and piano riffs and a whirlwind of haunting brass.
The melody is almost nonexistent in the mute blues for guitar solo "Waiting On A Train".
It continues with "Day And Night," a very sad ballad for harmonica and guitar, closely followed by the superb "Playing Ground," where the funereal chords fade into nothingness, leaving no escape for the listener.
The work closes with "Because Of This," a long, dark, and hypnotic Persian dance that leaves you speechless.

In essence, a work rich in creativity, sadness, and mystery, where Lanegan's hoarse and warm voice envelops you throughout the album.
A little treat: the album was recorded in just 2 weeks of full immersion by the mature singer-songwriter, demonstrating his enormous potential.

The 4 for the album is only because among Mark's works, it's not my favorite.