If Chris McCoy is preaching the gospel, then brothers and sisters…I’m a believer.  His 2006 CD Colder Chicago Sept. Hymns (Beachhouse Records, 2006) is a testament to his abilities as a lyricist and musician.  I first heard samples from the album on McCoy’s MySpace page and was immediately reminded of Frank Black’s first solo album…and yes, you’d better believe that is a compliment.  The comparison extends beyond songwriting and musicianship into the ethereal smoothness of Chris McCoy’s vocals.  Truth be told, somewhere in there you might also hear a latent edge in his singing that is reminiscent of Live’s Ed Kowalczyk.

All of my quasi-esoteric comparisons aside, one of the best compliments I can bestow upon Colder Chicago is that it’s the kind of album that I’d love to fall asleep to.  It’s a strange thing to say about a record for sure, but I have an unusual tendency to at least partially gauge an album on what kind of dreams it might evoke when I doze to it.  It’s a paradox of sorts as the music of Colder Chicago makes it relatively easy to fade blissfully away while simultaneously bidding me to pay close attention for what the artist might offer up next.  McCoy & Co. lay down some surreal tracks in which shimmering  guitar work features rather prominently.  All this "dreaminess" is not to say that I haven’t given Colder Chicago an attentive listen during my waking hours, mind you.  The CD has actually become  a staple in my listening repertoire these days.  Here’s a side note to all that:  The first time I listened to the disc I was driving around with my 6 year-old daughter and it wasn’t long before she was singing along with one of the songs.  I don’t think she really nailed the lyrics though, because I distinctly remember her singing about cookies at one point.  But she did like what she was hearing, I’m sure of that.  

Colder Chicago kicks off with "Awake & Under" which effectively communicates to the first-time listener the great things that lie ahead on this album.  The underlying guitar riff has a triumphant feel that seems to unwittingly channel the ghost of Phil Ochs (from some of Phil’s more upbeat tunes).  The song features a well-timed break of feedback that would make Thurston Moore proud, splitting the track into a distinctly acoustic introduction and a triumphantly symphonic finish.  No doubt this is a fantastic way to start an album as it brilliantly sets the tone for the remaining set.  Subsequent tracks like "XXVI” and "No Devil" capture something of a post-Pixies vibe with a pleasant blend of strong, clear leads that are complimented nicely with subtle effects and background melodies.  

"Tonight, This All Is Over" is a particularly intriguing track which is built around a tango-like piano ostinato and a gently driven backbeat.  It fits well in the overall tapestry of the album while standing out as a unique gem unto itself.  Had McCoy and The Gospel released singles for Colder Chicago, "Tonight" would’ve been a nice follow up to "Awake & Under."

"Take Me Home" and "Westgate" round out the collection of 9 tracks on the album and in some respects it’s actually difficult for me to think of these as anything but two distinct parts to one tremendous song.  The hypnotic organ/keyboard melody in "Take Me Home" comes to a fitting end as the loop careens into a brief yet noisy coda.  Call me crazy but it really does remind me of the "Star Gate" sequence in 2001: A Space Odyssey with "Westgate" representing the other side of an otherworldly journey.

All in all, Colder Chicago Sept. Hymns is an evocative and enjoyable listening experience.  With so much to offer, it’s my sincere hope that Chris McCoy and The Gospel will embark on a revival someday soon and add a few more chapters to their scripture of sound.

Purchase individual songs or the complete album through CD Baby.