Electric Blue w/ Royal Blue & Neon Green Splatter

Though he is probably best known for his role as the frontman for hardcore punk heroes Avail, Tim Barry also has a softer side. Manchester, the follow-up to Barry's 2006 record, Rivanna Junction, finds him at his best, offering up honest, impassioned country music played with a refreshing dash of folk. And while it is a definite departure from his work with Avail, it never at all sounds like "that hardcore vocalist trying to be a country singer." Indeed, Barry fits the role of country singer well, something he further demonstrated on his "Revival Tour" with Chuck Ragan (Hot Water Music) and Be Nichols (Lucero).

With his large, commanding vocals juxtaposed against tunes that range from relaxed to restless and from lively to lovely, Barry could easily make a career out of being a folk musician, and Manchester is a strong testament to this. "Ronnie Song" is a somber ballad that rests on a gorgeous piano progression, featuring vocal harmony reminiscent of that found on Bruce Springsteen's landmark Nebraska album. "This November" is another choice cut, and with it's unapologetically catchy melody and interesting use of banjo and violin, it makes its impression immediately and will likely stay in your head after first listen.

However, the album has its faults. "South Hill" sounds almost like filler material, with its fairly routine lyrics. The music itself is fine, but lines like "When my girl got pregnant / I dropped right out of school / But there's no work in South Hill / So what else could I do?" sound just a bit cliche, at least when compared to the strength of the lyrics found elsewhere on the album. "Sagacity Gone," while a quite good song on its own, becomes just a bit forgettable when sandwiched between two of the finest cuts on the record (the aforementioned "Ronnie Song" and "This November"). So while Manchester is a stand-out effort as a whole, there is room for improvement - something which we'll hopefully see on Barry's next effort.

(AbsolutePunk.net)