Chris Eberlein - New CD Promo

Independent electro-pop artist Chris Eberlein debuted his introductory album Parnassum in March 2008, receiving positive responses from critics and listeners alike. It produced four strong singles (a fifth, the synth ballad "I Think I Love You", was released exclusively onto Germany independent radio in May) in the form of "Twin Brother (Make It Right) - The Official Remix", "What You're Doing (To Me)", "Black and White" and "Before I Go Crazy", all of which received moderate airplay at independent, Internet and college radio stations around the United States, Europe and in parts of Asia. But in less than nine months the Berklee College of Music dual major and Idaho native is releasing his "official first album" to the independent market. So how does it sound?

Pretty "damn good" as one UK critic put it. Not only is the production stellar, and heaps better than that heard on Chris' first effort, but the songs are refined and have direction, something Parnassum's largely lacked. Disguised amidst the dance floor-ready beats and the swirling electronica-themed elements lie some of the most angst-filled and introspective lyrics heard in a long time. Lead single "Love Inflicted" is a shimmering piece of trance-pop, featuring layered, whispered vocals and spacey production; this song has already received radio support around the world and for good reason. On the title track Chris gives a former friend (or lover) the shove over the scathing chorus: "Every word you'll ever say/I'll never let get in the way of the door," he sneers, and the anger can clearly be heard. "Right State of Mind" is as catchy as any STD, combining techno and trance together to form quite the piece of electro-hewn pop perfection; here the message is similar as he blames his ex for their soiled relationship: "Because you never let me know/You never said to stay or go/And now you act like everything's fine/The fact of the matter is that/You can't cut off ties and then expect/Everything between us to be all right." "Love is a Game", Chris insists, that he'll "play no more", and besides being one of the best songs he has written it is a slice of ear candy if there ever was one.

Despite its troubled subject matter, moments of quiet brilliance and introspection do slip in. On the beautiful, atmospheric "Is It Really Better?" Chris is - surprisingly - devoid of any backing instrumental help whatsoever, leaving his voice in the front with various layered effects. "Tell me, is it really better to have loved and lost than ever loved at all?" he ponders, before concluding that "either way I see it, whether you take it or leave it, you still fall." "Fuss" is another rare contemplative spot on The Way of the Door and questions the process of falling in love itself: "Why does falling out of love have to hurt so much?/Is it really worth all the fuss?" Chris asks; here production is similar to that of his debut single "Twin Brother (Make It Right) - The Official Remix" only, again, better.

The only instrumental here - the planetary tribute "Blue Planet" - is comprised of lush synthesizers that rise and fall like the seas themselves, cascading in gorgeous, and complex, harmonies. Its place at the end signifies that while his music may be derived from a genre known for its lack of seriousness Chris and The Way of the Door are to be taken seriously.