Israel is a land of many different faces. Home of countless biblical curiosities other natural wonders, it is a land rich in tradition, history and intrigue. It is not, however, famed for its alternative folk rock and blues.
One man, however, is waging a single-handed crusade against the prejudices of old and bringing his own brand of eclectic, indie rock roots from his beloved homeland.
Geva Alon delivers his fourth full studio album In the Morning Light to a much anticipatory fan base and wider musical audience this summer. His first since 2009’s Get Closer, an album that was tipped to be Alon’s breakthrough into mainstream success, In the Morning Light shows a more confident side to the singer/songwriter. Something that was perhaps amiss from his previous works and a possible reason for Get Closer’s unfair dismissal and reception on release.
Charging back into the studio, this fourth collection of his solo work sees a much more focused Alon at the helm. Backed by a plethora of talent that includes bassist Jeff Hill (Rufus Wainwright) and drummer Otto Hauser (Vetiver) the album is very much rooted with a continental flare and imagination.
Taking the well worn style of blues, country rock and alternative folk, Alon blends together his natural flare with European passion and rich sounding harmonies to the genre.
Diversity is the key ingredient across the ten tracks. From the lead single ‘The Great Enlightenment’, a hazy, slow paced acoustic drift across the ether, to the more folk tinged ‘Grey Herons’, Alon’s musical tastes and song writing prowess are displayed aptly.
Where other artists try to emulate this prowess and fail, Alon seems to be in his element amongst the variety. The Black Keys are a notorious outfit for trying deliberately to plum the depths of their own imagination only to come up with the same distorted, amp-tastic sound over and over again. Geva Alon, on the other hand, shows them how it should be done, mixing unplugged and plugged storytelling with temperament and subtlety. He also stands toe to toe with the Keys in their quest for Americana glory.
The understated yet brilliant ‘Carolina’ proves to be the dark horse on the album. With its blistering riff centric intro, complete with solo and snapping snare drum beat, Alon wails over the instruments with a Nick Drake meets Neil Young style. All the while conjuring up evocative images of the USA’s hazy south with imaginative detail and ambitious longing.
This is a track ladened with longing and adult composition. Much like the album as a whole, Alon’s laid-back maturity towards his music oozes from every plucked string and heartfelt lyric. Bruce Springsteen might still be The Boss but he now has some hefty competition. Something he has not enjoyed in a very long time and a feat not seen for even longer.
Geva Alon is an artist who looks set to be pushed over the top by In The Morning Light. Previous success has been enjoyed but never truly appreciated by as wide an audience as is perhaps fair for the Israeli bluesman. If the Musical Gods have any influence over the almighty dollar anymore, they will see it in their interest to push some karmic realignment in Alon’s direction.
