Tom LoMacchio – Five Years Later

Tom LoMacchio
Five Years Later

Tom LoMacchio is a solo singer/songwriter/guitarist who has recorded under several names. The only one I knew of was The Deadwood Divine, who had a nice acoustic song on the Postmarked Stamps compilation. LoMacchio is an amazing guitarist who has devoted himself, at least on this album, to beautiful, orchestrated solo works of depth and emotion without pushing into the folk categories. His voice, well not beautiful by any means, drips with sincerity. LoMacchio plays most of the instruments himself, focusing primarily on acoustic guitar and piano. And all these parts together make for a beautiful album of acoustic guitar ballads and soft rock songs with heart.
Elements of classical guitar and piano, rock, and Spanish guitar are included on this album, making soft ballads and sometimes sweet landscapes of sound. To say this is a complete work is an understatement. This is an album of maturity and depth, unlike pretty much anything else in my record collection.
The album starts with “Introduction,” a 3-minute instrumental with multiple acoustic guitars that clearly shows LoMacchio’s classical training. In “Apart,” LoMacchio’s voice is well suited, sounding deep and almost British to the soft, chiming ballad. “Taunt, these lines is waiting, urgency,” he sings heartfelt. What that means, I don’t know. No lyrics included, unfortunately, because LoMacchio also writes some impressive lyrics. “Safe and Sound” sounds more akin to LoMacchio’s Postmarked Stamps contribution. And it picks up at the end, more passionate and powerful. “A Sullen Night’s End” starts off as a solo acoustic ballad and instrumental, but this 8+ minute song turns more lively as the vocals kick in. And the accompanying cello and percussion makes this song, perhaps the most beautiful and powerful song on the album, into a more orchestrated piece. “More Than I Can Say,” in its soft flowing rhythm and soft, intimate vocals reminds me of the Smashing Pumpkins’ version of “Landslide.” “To See Behind” is another long, full piece, ending with the lullaby like chorus of “goodnight, my friends.” “Piano Song” is just what it says, a pretty piano piece that you can almost hear Tori Amos singing to. And “Always Tomorrow” is another that starts slow and builds, faster and more intense. Although LoMacchio’s voice is best softer.
So LoMacchio may not be the next solo balladier. His music is a bit too emotionally involved for the masses. And the match of his voice to the guitar, while sincere and appropriate, would never reproduce on PBS. He reminds me of Peter Himmelman without the wit. He reminds me of Jeremy Enigk’s (of Sunny Day Real Estate) solo venture without the full orchestra. He sings with so much sincerity, you have to listen to every word. This is truly a beautiful acoustic album of heartfelt ballads, not to be listened to every day or in every situation, but one to be cherished.