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Jun 08, 2022 Web Exclusive By Andy Von Pip

If you’re a fan of Tess Parks, then her second solo outing, And Those Who Were Seen Dancing, would be pretty much all that you’d hoped for from a Tess Parks album. It occupies a space between reflective, introspective pastel pop and voluminous psych drones. It’s an album that ebbs and flows with a tempo that rarely gets out of mid-pace, but it’s certainly a mesmerizing album, full of textures and layers. The overall lack of pace could be perceived as a strength and a weakness, depending on your mood. There’s undoubtedly a narcotic fug that runs throughout the album due in no small part to Park’s vocal delivery, which at times makes Mazzy Star sound like The Dickies on speed. It’s safe to say it’s an album that’s unlikely to end up on your “music to workout to” playlists.

And the initial impression is that it would benefit from a slightly more propulsive thrust. However, repeated listens allow you to appreciate the nuances and musical craft, as vivid details slowly reveal themselves. When Parks tries for something a little different, as on the spoken word “Brexit At Tiffany’s” things get a little more interesting, with Parks sounding like a chain-smoking Sinead O’Brien. “Old Life” is a swaying spaced out cosmic lullaby, where as “Do Your Pray?” sees Parks press her foot lightly on the accelerator and turn the guitars up to produce a majestic sprawling slice of wigged out psych-rock,

It’s been almost 10 years since Parks’ debut solo album, having worked in the intervening years with Brian Jones Massacre’s Anton Newcombe on various musical projects. Her cool, laconic drawl works best when paired with coruscating guitars and it’s at those moments that the album really shines. Hopefully, it won’t be a decade until she releases another solo album, as she’s undoubtedly a gifted artist with much to offer. (www.tessparks.com)

Author rating: 7.5/10