"Fantastic Lies of Grizzly Rose"

Some albums are just hard to describe.

Miwa Gemini’s “Fantastic Lies of Grizzly Rose” is one.

It’s not a matter of being good or bad but rather about the work one has to put in to try and describe the album in ways people can understand.

But what is important, and needs to be respected, is the fact the album is absolutely genius work of Francophilia.

Take the beginning track, “Goodnight Trail,” which is reminiscent of a Parisian cabaret — with Gemini’s teasing voice, combined with accordion and sudden tempo changes, putting the listener at the center table.

“The Other Half of Me” modernizes the album with its clean tones of electric guitar, and “Matchbox House Blues” follows suit.

The music is still French in essence, but instead of Moulin Rouge, it’s similar to some vintage artists like Edith Piaf and Francoise Hardy.

“Pioneertown Love Story” suddenly Americanizes the album, with added elements of Nancy Sinatra.

Needless to say, one has to have an acquired taste to enjoy “Fantastic Lies of Grizzly Rose.”

Sadly, this is going to be one of those albums that will get a bad wrap when it shouldn’t. It will be called “elitist” of “avant-garde” — the background music for get-togethers of the intelligentsia and bourgeoisie.

“Critics” would also neglect the fact that not every song fits the vintage French stereotype. For instance, “Between the Seasons” takes on elements of sunshine pop — acid-induced pop best represented by The Beach Boys’ “Pet Sounds.”

If people buy into that, they are missing an opportunity.

They will miss the conceptualization of this album, and the reviewers will have missed the point.

The point is, the album is a rarity — a concept album that isn’t a total flop.

I won’t give away the concept of “Fantastic Lies of Grizzly Rose,” because its something listeners must find out for themselves.

But in a word, it’s fantastic.

— Wil Petty