Sean Rowe
The Salesman and the Shark

The all of the little and the too much of the much.

In 2012, Sean Rowe reappears after the success (success in the sense that instead of 10, perhaps 1000 listened to it) of "Magic".

And he does so with an album with a single problem: the production.

There are tracks on this album that are filled with so many sounds that it's unclear why.

Like the guitars that suffocate Joe's Cult or in Downwind, after the first fantastic minute, it explodes into sounds that, if not entirely random, are at least excessive.

Sure, it's a flaw that disappears after the first few listens, then you come to terms with it, but you still can't help but frown.

And how the heck didn’t he notice the problem of sound saturation when listening to Old Shoes, which thrives on nothing and turns out to be the best of the bunch.

I understand that a whole album like that would become tiresome, but a middle ground needed to be found.

The rest is an honest album, with solid songwriting and a big voice that seems to be a nice mix between Tom Waits and Springsteen.