After four releases, Behrman has fully grown into his signature sound: a half-spoken, half-sung, effortlessly cool vocal delivery; an honest, soul-searching lyrical approach; and a musical style that is as warm & melodic as it is cool & modern. Working with one of the best music producers in the business, Matt Chiaravalle, and a superb cast of musicians (Howard Alper on drums, Matthew Jacob Dougherty on bass, Rob Clores on keyboards, Danielle McCullough on backing vocals, and the legendary Uptown Horns), Behrman had everything he needed in place to really go for it and make the record he envisioned in his head. I would describe If Heaven Didn't Hurt as a really chill, easy-like-Sunday-morning kind of record. These songs don't try to hammer you over the head; they build atmosphere and warmly invite you in. "They Won't Take Us Alive," a bona fide anthem, forms the most direct line to Behrman's punk roots. Elsewhere, the powerful & profound "Ain't It Funny" is a moody rocker meets infectious R & B jam. "Take a Little More Time" and "Bitter Town Blues" are smooth and jazzy. "Pink Cocaine" is primo hipster disco that couldn't be any more New York if it tried. "Every Motherfucker She Sees" is funky blue-eyed soul and a real standout. Closing track "After the Ramblin' Is Done" is Behrman's finest ballad yet — a stunning, ethereal number that brings a gentle but deeply felt finality to an absolutely tremendous album.
A semi-autobiographical rock album of linked song-stories inspired by the heyday of big screen New York is certainly the kind of thing I'd be into. When Lorne Behrman arrived as a solo artist back in 2021, it was as if he had found an instant identity as a singer and songwriter. He has never needed to search for his place in the underground music scene. What he has done is build on his style. If his previous releases weren't for you, If Heaven Didn't Hurt won't be either. But if you liked his first two albums, you're going to love this one — an even better version of those prior efforts. I love songwriters who aspire to make art, and this album is absolutely a work of art. It's sophisticated and thoughtful as it spins relatable tales of desperation and redemption. Yet it never comes off as pretentious or bloated (even the longest tracks barely cross three-and-a-half minutes). This is a soulful, deeply human record. All of that stellar production and amazing musicianship are there strictly to serve the songs, and it's Behrman's words and voice that remain front and center. This is not some sideman cosplaying as a lead artist. This is one of the most exceptional songwriters in our world doing what he was always meant to do. He's on one heck of a creative roll, and we are fortunate to be privy to it.
