It’s hard to believe that David E. Williams, composer, musician, misanthropist and all-round twisted pop genius has been slogging away with his own truly unique brand of off-kilter and more often than not controversial recordings for decades now, yet is still somewhat of an underground figure. He has all the hallmarks of a true pop superstar and enough wit, charisma and talent to elevate him head and shoulders above many out there. However, because of his rather ehmm, unconventional lyrical content delivered over an all-too-innocent musical accompaniment, the moral majority just aren’t ready for him just yet. But for those twisted musical souls who skirt around the seedy underbelly of the post-industrial, left-field folk and pop noir scenes, the name of David E. Williams will be, or at the very least should be, known to you all and held in great esteem.

Following hot on the broken heels of the critically acclaimed The Appeal of Discarded Orthodoxy, a double CD tribute of industrial, noise, neo-folk and experimental music dedicated to the great man himself, Every Duck… is David’s first original recording since 2004’s Hope Springs A Turtle, and is by far his most smoothly produced, polished and impressive album to date, although overshadowed somewhat by its inspiration, the death of David’s girlfriend (Jennifer Bates, who died after a lengthy battle with leukaemia), which gives an immensely personal and more sombre approach to the usual tongue-in-cheek black humour that is all too prevalent in David’s other recordings.

That said, this personal approach to David’s work displays a wonderfully moving and passionately delivered array of vocals and musical accompaniment which shows an impressive extension to his usual repertoire, and showcases his talents as a songwriter and musician with a haunting charm and immense skill. Jennifer’s death resonates through every fibre of Every Missing Duck…, as is completely understandable, from the artwork, which features a painting by her on the back cover, to the subject matter of a number of the album’s tracks, the first two tracks epitomising David’s addressing of this painful situation. Opening the album is the powerfully emotive track ‘Ich Hatt' Einen Kameraden’ (trans. ‘I had a comrade’), which is a a traditional lament of the German army. The text was written by the German poet Ludwig Uhland in 1809, and this was set to music in 1825 by composer Friedrich Silcher. The track plays an important ceremonial role in the German army, and is an integral part of a military funeral. The tone of this lament is carried on to the more poignant second track ‘Save A Chair For Jennifer’, in which David sings;

“I said I would never leave her.

Well, she can finally call me a liar.

I was well beyond those metal doors

when we consigned her to the fire.”

As the album progresses, the references to Jennifer mount up, both directly and I’m sure indirectly, but moving away from the personal aspects of the album, for the listener it sees David utilising a myriad of artistic skills he has only hinted at throughout his previous releases to realise a superb dark pop album.

Joined by an impressive and diverse list of collaborators and musicians, the musical backing throughout this album far outreaches what we have seen David display previously. Still present are the piano and keyboard which have been a staple part of David’s recordings throughout his recording career. However, added to these is an assemblage of other instruments including violin, clarinet, harmonium, drums and the distinctively beautiful drone of the Hammond organ. Also accompanying David is his musical co-conspirator Jerome Deppe who provides numerous instruments as well as backing vocals to the mix.

Time and time again as the album progresses, the use of large-scale musical backing including chilling classically inspired segments and clear guitar work brings a whole other dimension to David’s music, and this coupled with the tremendously distinctive vocals and lyrical content make this album a wonderfully bittersweet joy from start to finish. Particular mention has to be given to ‘Haiku, Interrupted’ which features a stunning duet with Lora Bloom, and his cover of Jefferson Airplane’s ‘Lather’ which is a stunning dark cabaret number. ‘Their Paper Cranes Ablaze’ is perhaps the most emotionally breathtaking track on the album. Purely instrumental and highly atmospheric, it’s awash with a wondrous passion and sorrow which ebbs delectably from every fibre of its being.

It’s quite easy to see that in the past David’s work has appealed to the more open-minded and misanthropic listener out there, even if his all too often unsubtle and confrontationally warped lyrics have danced hand-in-hand with delicate dark pop attributes. However with Every Missing Duck…, David has taken this one step further and there is no reason at all why this album couldn’t be his breakthrough into more ‘mainstream’ alternative circles, especially with the likes of the Dresden Dolls, Marc Almond and even Nick Cave’s work having some similarities to what he has produced here.

It may have been born out of great loss but for those who hear it, Every Missing Duck Is A Duck Missed certainly offers a great number of rewards, and is without doubt David’s finest moment to date.

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