daniel amos doppelgangerDANIEL AMOS
Doppelganger
Alarma Records
1983

Daniel Amos’ fifth release continues the overall Alarma Chronicles concept, something that I still have no idea what the story itself entails. But, at least the second part itself, Doppelganger, is a rather good entry in the series. Also, it’s a great classic New Wave record in its own right, methinks.

Having a bit of a darker tone than that of the previous release, Doppelganger nonetheless manages to maintain the high quality musicianship and writing, putting out a very detailed and multi-textured album, filled with some of the best writing going as well as showcasing the bent sense of humor the band was famous for. If that wasn’t evident by the album cover–a slightly unsettling monochrome image of a mannequin–then you’re not paying attention.

The album itself kicks off with a brief yet mind-twisting intro “Hollow Man”, played backwards with spoken words and an avant-garde bent, which leads into the first proper cut of the album, “Mall (All Over The World)”, which is an infectious and dark New Wave cut with a funky bass hook that will get into your head like none other, there. “Real Girls”, “Memory Lane”, and “I Didn’t Build It For Me” feature that kind of New Wave style, yes; but like with their previous releases, the band branched off into other styles while keeping things unmistakably their own: “New Car!” has a cool rockabilly style, almost psycho-billy in a way before that became a thing; “Do Big Boys Cry?” isn’t necessarily a ballad, but it comes close; “Youth With A Machine” and “Little Crosses” are guitar-driven with some good hooks, while “The Double” and “Angels Tuck You In” are more janglepop, with the later having a classic Elvis Costello vibe to it. “Distance And Direction” has a Caribbean vibe to it that reminds me of another song from that time, the title of which escapes me greatly; “Autographs For The Sick” is another avant-garde tongue-in-cheek spoken word bit over ambient played music; the final song, “Here I Am”, has a very Beatles-esque somber-brite quality that just burrows down into your brain and will have you whistling it absently long after the record ends on the second part of the “Hollow Man” intro.

So, as I’m coming to understand the further I look into the Daniel Amos discography, you can’t just casually throw on a Daniel Amos record in the background and leave it; Doppelganger as an ablum begs to be listened to, closely, to take in the various textures and layers and lyrical play melded together into a whole. The production is fantastic, and you can tell a lot of time and careful crafting went into the making of this. I’m just now beginning to realize why the band ranks so high on everyone’s list of influential Christian bands. This release comes highly recommended.