SPILL ALBUM REVIEW: LORI CULLEN – THE THUNDER AND THE BAY

LORI CULLEN
THE THUNDER AND THE BAY
INDEPENDENT

With the release of The Thunder And The Bay, Toronto singer-songwriter Lori Cullen definitely has something to celebrate. The album is Cullen’s first full-length release since 2022’s Blood Wonder, and it marks a shift to new sonic territory for the artist.

While she is known for her stylistic mutability and marrying of genres, The Thunder And The Bay sees Cullen leaping off the cottage dock into the refreshing musical waters of contemporary electronica. Cullen wrote the 10 songs on this album with her songwriting and production collaborator, the electronic musician and producer James de Pinho (a.k.a. Beta One). De Pinho’s presence is strong here: in addition to producing the album, he did the programming and played keyboards on all tracks. Together, Cullen and de Pinho have created an album that is creative, cohesive, and beautiful.

Kicking things off with its simple yet driving rhythm is the smooth and soulful first track, “How Far”. Rhythmically tight, with flowing vocals in the verses and double-time vocal delivery in the chorus, this song possesses both familiarity and freshness, and is an excellent introduction to the album’s musical journey.

The term ‘soulful’ actually applies to much of The Thunder And The Bay. With de Pinho’s superb grooves and production, and Cullen’s impeccable vocal delivery, the album plays like modern, sophisticated R&B. With versatility that always serves the song, Cullen’s vocals are on point. At times wistful and thoughtful, and at other times direct and full of pop music energy, Lori Cullen’s voice draws the listener in and invites them to stay.

There are plenty of high points on this album. “Gotta Get Out” is a standout with analogue-sounding keys and creative synth performances by de Pinho, and a stunning horn part by William Sperandei. Cullen’s voice absolutely shines here. “Thunder Bay”, another great track, is calm and serene, yet dynamic. The lyrics sound almost stream of consciousness, giving the song an abstract air. Still, this song’s focus is clear. Mention must also be made of “Into The Wood”, a subtly hook-laden song that is polyrhythmic and lushly layered. On this track, Cullen’s vocals tumble out gently and naturally, gaining intensity as the song progresses.

The album’s sound is rounded out by a number of guest artists including the previously-mentioned William Sperandei, whose outstanding trumpet playing elevates a number of tracks. Additionally, Kevin Fox’s cello work adds warmth and drama to “Feel You First”, and Thom Gill’s inspired guitar, bass, and piano work on “Swim” grabs the listener’s attention. As well, the guitar work of Kurt Swinghammer brings added texture and colour to this collection.

Lori Cullen has fully embraced her genre shift with The Thunder And The Bay. The songs here are outstanding, and the natural and synthesized sounds work so well together. My observations merely scratch the surface of the multitude of treats to be found on this album. It is truly a work that should be enjoyed in its entirety. Kudos to Lori Cullen and James de Pinho. The Thunder And The Bay is a great addition to Cullen’s body of work, and is well worth checking out!

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