One of the most beautiful dark songwriting-voices of the label.
Dean describes the ghettos of the lost hearts and dying emotions. What might be misleading to expect something heavily pathetic and whiny, Dean in fact transform highly elegant and schmaltz-free; and in a solo run. It takes Dean only few guest musicians and a richness of melodies to create the emotional denseness of a melancholic world view. But, again, don’t be mislead to fear a “ballad-album”. There are ballads, but they are of cool elegance and free of ressentiment. Actually, “Ghetto Love” is an album which works without any stereotypes: no running after trends, and the sonorous voice of Dean often seems to tell more than it sings, thus reminding of Cale, Cohen and Reed … A beautiful album, definitely not made for dancing or singing along, but best appreciated when simply listening to it.
Dean reveals himself as an unusual poet, a dandy of melancholy. Heavy organs and driving drums, balladesque pianos and mourning guitars. Add to this Dean's voice, which seems to caress the words before pronouncing them, singing them out. Pure emotion. Dean sometimes seems to choke on his melancholy. But he remains the dandyesque singer, foreboding, knowing, feeling the doom. Dean is the narrator of melancholy love relationships. He is the man who observingly tells the little stories. The little stories that mean more to us than the big world events.
Dean took three years to present his debut. And for comparisons with Bowie, Cale and Reed, this multi-instrumentalist has created a legendary "Laissez faire, but take live serious" album. Sometimes melancholically close, the chorus then sung more distantly. Sometimes melancholically and emotionally scarred, sometimes full of emotion for a new day after a long night, this is how the songs work and entangle the listener pleasantly in thoughts with or a drink.