Click here to expand and collapse the player

Melting In the Dark

Rate It! Avg: 5.0 (7 ratings)
Melting In the Dark album cover
2:48   $0.99
Shelley's Blues, Pt 2
3:27   $0.99
What We Call Love
3:22   $0.99
2:50   $0.99
The Angels
2:54   $0.99
4:53   $0.99
Silence Is Your Only Friend
2:28   $0.99
Stare It Down
2:21   $0.99
2:30   $0.99
For All I Care
2:58   $0.99
The Way You Punish Me
4:42   $0.99
4:01   $0.99
Melting In The Dark
5:28   $0.99
Album Information

Total Tracks: 13   Total Length: 44:42

Find a problem with a track? Let us know.

Write a Review 1 Member Review

Please register before you review a release. Register

user avatar

Melting In The Dark


As a long time fan of Steve Wynn and of his various projects (Dream Syndicate, Gutterball, Danny & Dusty, The Miracle 3, and so on), THIS is my desert island pick for Steve. Sure he's made albums that were poppier or more critically acclaimed, but for power and emotion, MITD wins out. It sounds like a breakup album along the lines of Beck's Sea Change or Dylan's Blood On The Tracks, but with a more visceral, nasty sound. Just like a real breakup. I cannot recommend this record enough.

They Say All Music Guide

Out on his own since the 1989 breakup of highly influential paisley underground act the Dream Syndicate, Steve Wynn spent the 1990s pursuing a solo career. While 1991′s Dazzling Display found the singer incorporating both strings and horns into the mix, and 1994′s self-produced Fluorescent seemed at times to head for the country, Melting in the Dark is a stylistic regression of sorts. Back in the production seat, Wynn is joined by Boston’s Come for a batch of songs propelled by layers of gritty guitar rather than a delicate strum. The album announces its intentions from the opening snarl of “Why,” a near-rockabilly number with drummer Arthur Johnson pounding away at his kit beneath the clamor. A guitar solo opts for a series of fractured textures over a conventional melody. The set opener is followed by the icy pop of “Shelley’s Blues, Pt. 2″ and the feedback trails and train-like rhythms of “What We Call Love.” Wynn’s admiration for Lou Reed and the Velvet Underground is made explicit on a handful of occasions. On both “The Angels” and “Silence Is Your Only Friend,” he even sounds like the man himself. The former could be an outtake from New York, Wynn adopting Reed’s dry, half-spoken/half-sung delivery, while the latter resembles the Velvets circa 1969. More often than not, however, such influences are better disguised and, as a result, more natural. The lack of tunefulness begins to wear as the album progresses, but otherwise the return to a stark, visceral, guitar-driven sound suited Wynn well. – Nathan Bush

more »