Not because Dizzy Heights is Neil Finn’s first solo project in 13 years, that he has disregarded music. Meanwhile, he has been keeping busy by collaborating with Australian singer-songwriter Paul Kelly, a Finn’s Brothers album and a Split Enz live album.
Dizzy Heights is not so much about singing or melody, as it is about creating the perfect combination and harmony through the constant pattern of sound layering, creating an elevating and educational listening experience. Adding producer Dave Fridmann in the team, the emphasis on sound engineering and composition can be easily noticed.
“Dizzy Heights” is quite amusing. Finn’s voice is doubled; therefore there is no way to misplace one’s attention elsewhere. It is a cheerful fairytale, a carnival we are all invited to and requested to remove our masks. Female back vocals are accompanying his venture to Dizzy Heights land, raising the vocal depth to three. At times instruments are screaming, at others they are calm and submissive. “It’s Halloween, it’s Halloween”…
“Impression” is tragic, again containing three vocal layers. This time it is instrumentally sensual. On one pan strings are calmly rolling around their own aura. Drums accompany the chorus’ voyage and accentuate their melody’s variations.