FFO: Greg Dulli, Greg Dulli, and Greg Dulli
Random Desire is billed as Greg Dulli’s first solo project. Even if you ignore the fact that Dulli already had a solo debut in 2005 (possibly a technically , since it was released as quote Greg Dulli’s Amber Headlights end quote), Dulli’s bands—the Afghan Whigs, the Gutter Twins, and the Twilight Singers—were always driven by his singular creative vision. His bandmates played important roles, but they were always in service to whatever muse Dulli was following at the time. If Dulli is fronting a band, it’s going to sound like his project, period.
After “reuniting”* the Afghan Whigs in 2011 and releasing two albums (2014’s good Do to the Beast and 2017’s excellent In Spades), Dulli found himself in need of a creative outlet as the band again went on hiatus. Random Desire is that outlet; inspired by Prince, Todd Rundgren, and other one-man-bands, Dulli wrote, played, and recorded the whole album himself (save for some guest spots from his pals). While there’s a slapdash quality here as a result, the album is still the most diverse release in Dulli’s career, revisiting almost every creative detour he’s taken while venturing down the occasional new path.
*more like adding an original Whig member to the Twilight Singers line-up
One of the most fascinating things about Dulli’s creative output over the years is that as his songwriting accumulated new wrinkles, he’d take those elements to his next project and continue building. So while the Whigs started off as a loud college rock bar band with serious ’60s R&B/soul undertones, they kept expending, ladling in more and more nuances. And then the Twilight Singers added a dollop of electronica and sunny indie rock. And the Gutter Twins folded in some late ’80s Nick Cave vibes. Random Desire keeps with this trend, as all of these elements swirl and slosh around. Some songs, like the glorious “The Tide,” revisit touchstone points (in this case, Black Love-era Afghan Whigs, with a huge upswell of guitars, piano, and Dulli’s howl). Other tunes try some new tricks, like opener “Pantomima”—it’s maybe the single most joyous-sounding thing Dulli has released. And “Scorpio” slinks along with a sexy vibe that’s carried by a trip-hop backbeat and some impressively syncopated verse vocals from Dulli.
If Random Desire suffers, it’s mainly from the limitations of keeping this to a one-man affair. I’ve always found Dulli an underappreciated musician, a true jack of all trades whose musicianship was always eclipsed by his huge on-stage persona. But while a more-than-capable multi-instrumentalist, Dulli’s playing never strays far from what he’s done before. The same can’t be said for his vocal performance—Dulli’s raspy yowl aims for some sultry low notes that are far out of his range. It’s endearing, but still a bad fit for the album. And it’s also not helped by the thin-sounding production; Dulli might’ve been shooting for this early Prince aesthetic, but it doesn’t mesh well with the anthemic swells that frequent his songs.
Random Desire is also the most lyrically diverse of Dulli’s career. Dulli’s songs have always been about the brooding and self-destruction that comes with passion. But here, he seems to take a step back and look at the sadness, joy, and peace that comes from relationships (or, like in the album’s standout “Marry Me,” broken relationships). It’s still Dulli, but this is the most mature he’s ever sounded (or, his persona has sounded, if there’s any actual difference between the two).
Clocking in at a mere 37 minutes, Random Desire covers a lot of ground in a little time. Even with its limitations, the it’s the most true sounding recording Greg Dulli has ever released. Maybe that’s why it’s being billed as his first solo album.
Our Rating: 7.9 (Stand Out)
Random Desire is out now on Royal Cream/BMG.