X-Patriate: Alan J Lipman
A city street, lit by a single street light. A broken window, revealing winter’s darkly promising yet forbidding shore below. The dark, haunting, desires and the luminous depths and channels of the soul–known and felt by all, rarely seen. The dirty little secrets that we cover with the daily, dated dresses of our lives, the fall and rise of our hearts, as we leap simultaneously to and from our deepest desires, and the costs of our hopes and struggles within and against the dark.
Lipman’s music travels deeply into the intersections of mind and heart, as, with an understanding, innermost, wry, and penetrating insight, uncovers the haunting, clear, explosive, evasive, hungry, dark, hopeful movements of the human soul as it traverses, entangles, avoids and embraces the human heart.
He reaches past the persona, the face we all wear, using lyrics with multiple ideas in each word, a deep, sonorous voice, and multiple musical forms, to convey the multiple layers through which we desire, deny, and propel ourselves forward in a haunted, longing search for connection: The darkly manic, ephemeral journey of the heroine of “After The Fall”, strewing dark leaves across the streets that she draws from the depths of her mind, grasping the boys that surround her, until, once again, after the fall, “the walls came quickly”, and she is brought safely back within the numbing confines of convention. The dark, Tom Waits-like demonic French carnival of “Prey On The Naive“–”It’s really not too hard”–where the saving of souls is caked in the appearance of empathy and the reality of self-blinded opportunism, as indicated in the dark coda: “And they look so sad and sorry now…so smile.” The sweeping, universal anthem of love and loss, “The Cost”, where the heartbreaking space we keep between us as, at the same time, we seek to connect, is memorialized in an almost Irish balladry: “I was a part of you…but I never forgot to ask.”
The “Dirty Little Secret“, about to be revealed, that she long kept hidden by the “sweetness that you put on like a dated dress’, as, underneath lays “the darkness you thought that no one would ever find” and she struggles to “keep herself straight in between the lines”; The sweeping human struggle of the people, manning the early city streets at six A.M. rising with the hope that animates their tired bodies to a new day, populating the city streets before we wake, in “Pennsylvania Avenue”, as, across the city, “The young debark at Union Station in new suits and bright eyes/With a gleam to aspire and-or to acquire”; “The elders on the street/Watch the Town Cars in their fleet/ pass to use the last of them/‘Fore they expire”; “A lighting flash above the dome/It lights the homes upon the Hill/Just for a moment a stop/A shock, a sign/And for that moment all are still/As they hesitate to find the will/To rise above the guise of love While there is time”; and “The vendors, tenders/Menders, benders/Spenders and amenders/All rise to seek the hope within/A brand new day.” But, relentlessly, across those same streets, “The steam rises up.” And across the cities and towers of Empire, the very “Unintended Consequences” that often lead to war’s spark and denouement, leads a love, against the cool, alabaster walls of power and nation’s arbitrary rise, to gracefully, effortlessly fall into another’s arms.
Lipman reveals, with irony, wit, and a loving understanding, the unfolding of woman, and man, from iconic pose, to assumed reality and then finally, in a Dylanesque turn, to dark, dirty primal essence–as well as the essential, absurd, sweet, dark randomness of our efforts at purity against the dark–in “Dirty Life”; In “Future Remembers”, he provides a vivid, hallucinogenic portrait of movements back and forward through time, city and relationships: a man remembering his experiencing powerful sensory elements and memories of his future, even as he moves forward into that future to a to a half-predicted, half-experienced explosive denouement. The vivid embrace of “Hold Yourself Against The Day” highlights the depths of Lipman’s vocals, as he captures a woman’s efforts to comfort and embrace herself against the demands of the world–to “Try to make a longer sunlight/Tear a hole inside the dark”. And in the ethereal “The Joke”, Lipman pans out from a couple’s struggle to connect, to, by the final stanza, the endless universal surround, observing this timeless dance: “The Joke/was that/on their first night/They stared/So deep/In each others eyes/And told each other/Sweet and elaborate/Deep and compelling/Lies”…“The Joke/Was that/There was a city/Enveloping/Their new choices/Caressing their uninvolved pity/Diffusing the control in their voices/And sending it off/Beyond the Towers/Which await/As they always will/The Joke, ah.”
These are some of the elements of the mind, world, writing, music, and voice of Lipman. His music draws together and brings to light the passionate, intense depths, and multidimensional varieties of the longings, strivings, desires and darkness of the heart, as the mind strives to satisfy and embrace them–brought from the depths of our lives to the surface, and seen, felt, recognized, and made real from the mind and heart.
Alan J. Lipman began writing music and lyrics at the age of 8, and has never stopped writing, playing and singing. Lipman is known as a vocalist, songwriter, and multinstrumentalist: He writes all of the music and lyrics, sings all of the vocals, and plays all of the instruments on his albums.
With almost no prior publicity, Lipman’s “Greetings From Lafayette Park“, including “The Cost“, “Dirty Little Secret“, “Dirty Life” and “Unintended Consequences“, saw every album track reach top popularity on iTunes France and iTunes Italy; in addition, the single “Pennsylvania Avenue” also remained at top popularity for over a year, leading to international press and interviews. Lipman’s music has reached over a half-million listeners.