The Tunnel Of Love

The Tunnel Of Love

"Underneath Are Phantoms"


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The Tunnel Of Love

http://www.insidethetunnel.com/




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San Francisco's a city with a wonderfully seedy burlesque dark past long ago that many fail to realize, yet someone who does wholly is multi-dimensional artist Jeff Wagner, a.k.a. The Tunnel Of Love, as he clearly taps into his knowledge of it for his nightmarish, carnival fuzz found within his 15-roomed 'Underneath Are Phantoms.'

His third release behind a self-titled EP in 2002 and 2003's '2 A.M. In The Tunnel Of Love' sees Wagner further develops his status of a denizen of music that is optimally explored and savored in darkness to give us a 33 minute plus ride that descends, ascends, twists and loops throughout these 15 connecting rooms that'd perfectly accompany you on a long drive or a chilled out session wherever, naturally providing a mesmerizing live indulgence to lose yourself in if so fortunate to catch this attraction.

Just as the doors open into the unknown on a haunted house ride, Wagner beckons us in his "Entrance," replete with a creaking gate opening as organs ominously pump away. With the doors shutting behind, you enter a Tim Burton/ David Lynch flavored music landscape. The internal to external flowing chug of "Your Throat" opens with a cymbal announcing your arrival to his house as it jaunts and careens down a path he's provided. Mark my words that Lux Interior and Poison Ivy are surely dying to collaborate with Wagner on this one and later ones such as the cacophonous "Snake Oil."

The journey continues with the quick organ march in the instrumental "The Floodgates" pushes along naturally into the meandering narrative confessional of "Train Won't Stop" that thickens in resonance. "Exiles (In The Land Right Now)" punches in a rockabilly swagger while "Apocalyptus" sprawls in its walking bass and haunting organ descents.

A smorgasbord of styling features in the unlikely shining dissonance of "Hair-Trigger Heart" that proves to be an eclectic light at the end of this tunnel into the stark closer "Exit" that leaves you much to ponder upon from such a rich ride within and without. Elvis may be dead, but not this attraction as Wagner provides a vivid portal to San Francisco's past in the land of right now.
review by michael
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