On albums like This Is Steve (2017) and Till I Burn Up (2019), Delicate Steve's Steve Marion offered up plenty of his distinctly whimsical and melodic instrumental pop/rock, incorporating synthesizers, effects pedals, and custom guitars to further set apart his idiosyncratic sound. On his sixth album, After Hours, Marion changes things up with an unexpectedly loungey, relaxed approach to a set written and recorded on a 1966 Fender Stratocaster, saying that this time with the instrument helped him rediscover "the simple joys ...
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On albums like This Is Steve (2017) and Till I Burn Up (2019), Delicate Steve's Steve Marion offered up plenty of his distinctly whimsical and melodic instrumental pop/rock, incorporating synthesizers, effects pedals, and custom guitars to further set apart his idiosyncratic sound. On his sixth album, After Hours, Marion changes things up with an unexpectedly loungey, relaxed approach to a set written and recorded on a 1966 Fender Stratocaster, saying that this time with the instrument helped him rediscover "the simple joys of plugging in and playing." Far from a solo guitar outing, it also finds him bringing in outside musicians for the first time since his debut, among them bassist Shahzad Ismaily (Yoko Ono, Marc Ribot) and percussionist Mauro Refosco (David Byrne, Atoms for Peace). Low on whimsy and high on intangible vibes, the resulting breezy, laid-back album almost sleepily slides into elevator territory while instead anchoring its lite grooves to the fire escape on minimalist entries like "Now I Know" and "Looking Glass." Elsewhere, the more sophisticated "Street Breeze" settles into one of the album's brisker tempos with lively percussion, touches of organ, and a slippery bassline behind Steve's own improvisational lead. He's more locked in on the wistfully lyrical "Playing in a Band," while the bluesier "Looking Glass" is highlighted by layered percussion, including hand drums that move the atmospheres toward more tropical climates. For further differentiation, "Find My Way" adds saxophone to the mix, and the title track blurs textures including what sounds like Fender Rhodes, muted electric guitar, acoustic guitar, and more beneath the lead line. He takes this technique further on the more experimental "Night Owl," which also clouds meter and form. Marion leaves listeners with the more in-focus, shuffling "Still Life," which fades out after an unresolved chord. A surprising move into the realm of background music for the guitarist/composer, some fans may miss Marion's trademark playfulness and inventiveness, while others may appreciate the option of a half-hour of cool, undemanding guitar explorations suited for a Saturday afternoon. ~ Marcy Donelson, Rovi
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