Time was not too long ago when self-released do-it-yourself efforts usually meant a punk band grinding out the same three chords they had heard someone play back in 1979. Thankfully, things change, and the current D.I.Y. market features bands from just about every genre, with the quality ranging from amateurish to polished and professional. Sketches In Grey, the debut CD from the Huntington Beach band Color Theory (aka Brian Hazard), fortunately belongs to the latter category. Featuring a collection of nine songs composed mainly around piano, Sketches of Grey is undeniably a "pop" album. But "pop" in the best sense of the word. If you need references, think Morrissey, think Tori Amos, think Depeche Mode. In fact, it's hard not to hear the influence of some of these artists coming through on a number of songs on this disc. But what prevents Color Theory from being just another genre band (besides some exquisite arrangements) is Hazard's voice. With a resonant tenor that seems to know no bounds, Hazard proves to be a triple threat vocally, achieving intimacy, control, and stylization all in the same breath (check out "Never Realized", and you'll see what I mean). Sketches masterpiece, however, is the beautiful "Monastery," an inescapably sublime blend of piano and guitars which has hooks so sharp, that it will leave you humming it for the rest of the day. You can bet if this song had the right backing, you'd be hearing it on radio stations across the country. In short, the nine songs which stretch across this recording are undeniably the work of a talent which has only begun to make his mark on the music industry. It's Morrissey with a better voice. DIY without the same three chords. Erasure minus the drag. So do yourself a favor, and buy this album immediately. Because if you wait too long, a major label might just sell it back to you at twice the price.

This re-issue simply blows the original away. Superb sound quality, 2 excellent remixes, a acoustic version of a very cool song I hope to one day hear the full version of, and 4 awesome live tracks have been added to this new edition, plus the original 9 tracks have been remastered to make them even more breathtakingly stunning. In case you can't tell, I highly recommend this re-issue.

It wasn't that many years ago when a good deal of the independent artist stuff sounded like it was recorded underwater. I still loved a lot of it. A good song is a good song even if it's buried in the mire and you really have to strain to hear it. Luckily though, with 90's recording technology getting better and more accessible, we're getting exceptional releases like this one recorded by Brian Hazard in his home. Brian does most everything here. Songwriting, vocals, piano, synth, and sequencing. Though vocally not as sure of himself as Andy Bell or Marc Almond, his voice is technically good and he often sounds like a cross between the two on these uncluttered introspective synth-pop tunes. Catchy pop songs like Never Realized, Monastery, and the wonderfully happy Something Here will appeal to fans of heartfelt Erasure ballads like "If I Could" or "My Heart So Blue". The melancholy piano and vocals on Shadow In The Shade and Severed Nerves are more reminiscent of intimate Peter Hamill, not unlike his 1986 album As Close as This. A strong debut, and one I would recommend picking up. Gary Littleton