Tag Archives: Reviews

Spoon: The Band We Can All Count On

They say you shouldn’t trust anyone who doesn’t like puppies or babies. That’s kinda how I feel about anyone who doesn’t love Spoon. I mean…what’s not to love? Soulful vocals and witty lyrics; smart, economical instrumentation; beats and rhythms that make you DANCE; all peppered with hoots, hollers, grunts and groans that let you know rock music is supposed to be visceral.

Full transparency: Jake Brown was not always on the Spoon train and I can tell you that there were several whispered conspiratorial conversations around the office keg. We considered executing the 25th Amendment until he started to come around. I am pleased to say the state of the GLONO union is now strong.

Hot Thoughts is Spoon’s ninth studio album and builds on the same blue print established way back on 2001’s Girls Can Tell. This is a band who is consistent, if not creatively challenging. Once they broke (albeit slightly) from the jagged corners of their first two albums, the mold was set and they’ve honed the product more than redesigned it. And I am totally down with that. It’s a wonder how consistent, and consistently good, Spoon is. Given how shitty things are elsewhere in this country it’s really nice to know we can count on a solid record from this band every 24 to 36 months.

One area of exploration I have enjoyed from these guys is their occasional dips into dance-y pop music. I think it started with 2005’s “I Turn My Camera On,” which is a staple of any indie kid’s dance mix. This year we have “Can I Sit Next To You” as an early contender for Summer Jam 2017. It’s the kinda song that will make middle-aged dudes pine for pool parties that don’t include swim diapers.

If you’re reading this then you probably already have the new album so I’m not going to sell it. But I’d love to open up a conversation in the comments about the elements of Spoon that make them our favorite band. Because there are common elements, some of which are noted above and some of which get turned into criticism for other bands. Why?

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Chris Staples – Golden Age

Chris Staples_HeadshotI maintain a playlist called Golden that pulls together a bunch of songs that give me fall shivers and nostalgic heartstring tugs. There’s loads of Beck’s Sea Change, Kurt Vile’s Walking on a Pretty Day, Steve Gunn’s Sundowner, Elliott Smith, Damien Jurado, Lord Huron, and now…Chris Staples.

Staples’ new album, Golden Age, shares more in common with those songs and that feeling than its title. There’s a type of sadness, without being maudlin. And maybe that’s to be expected. After a rough patch where Staples was diagnosed with Type 1 diabetes that resulted in pancreas failure, a bike accident that required surgery, and the dissolution of a long-term relationship, Chris Staples is afforded some sad bastard time.

But that’s what’s great about this record: it’s not sad bastard music. Don’t get me wrong, I LOVE me some of that. But Staples’ album maintains a bit of pop bounce with lovely melodies and simple production. It’s been described as a “subtle” record, which I guess is as good anything I would come up to describe the production. Because subtlety implies hidden complexity, and this record has that in spades.

Give a listen to lead off track “Relatively Permanent” and tell me you aren’t ready to sit down with Chris, have a beer, and talk about where you grew up.

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Live: Graham Nash in Portland

If I am being honest, I am just as guilty as anyone—maybe more so. I see “legacy” acts touring and think, “Why bother? They can’t be as good as in their prime.” Sometimes I’ve been proven right when a band that hasn’t spoken in 20 years gets together for a tour only to realize they stopped speaking for a reason and should leave us all out if it. But sometimes I am proven wrong; gloriously wrong.

Graham Nash has always been the secret ingredient. His harmonies are unmatched, and that’s evident in the work he’s done from The Hollies, to CSN(Y), and anything else he’s lent that magical voice to. It’s a high harmony, which is a big responsibility to hold in a singing group because those are the notes everyone really hears. Guys like David Crosby and Chris Hillman have a special gift for the harder to find middle parts, but they can also hide a little easier. With Nash, it’s right out there hovering over the entire song. That means his voice needs to be in top form, lest we all walk away just a little disappointed.

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Wildwood MusicFest 2015 – The Best Fest in the West

I’m going to tell you something most Oregonians don’t want you to know for fear that it will remove the final barrier that keeps even more people from moving out here: It doesn’t rain out here nearly as much as you probably think it does. In fact, the summers can sometimes be long, dry affairs that leave you praying for rain come September. The temperature will inch up to the triple-digits some days and the western sun feels more intense, but that may be my imagination.

It was over a three-day stretch like this that my family and I again made our way to the West Valley to the small town of Willamina, Oregon. We were in the middle of a welcomed break from a stifling summer when the weather report showed a slight return to the upper 90s. You guessed it: during the three days that covered the Wildwood MusicFest.

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Has Father John Misty become Roger Clarvin?

Father John Misty - I Love You, HonerybearJosh Tillman aka Father John Misty describes his new album, I Love You, Honeybear, as “a concept album about a guy named Josh Tillman” and his relationship with his wife. Being the kind of writer he is, he refuses to stoop to sentimental cliché; instead, he engages in mean-spirited honesty and sarcastic self-loathing. To call Father John Misty “sardonic” at this point is itself a cliché.

And yet this is an album of love songs.

“She and I have created a circumstance in which it’s safe to discuss everything, all this intense, deep-down shit,” Tillman told Pitchfork. “But there’s an anxiety because I don’t know if I trust the world with my intimacies. These songs were written about our experience, now it’s time to universalize them.”

This anxiety is not unjustified. At times I Love You, Honeybear veers close to the oversharing territory mined by Will Ferrell and Rachel Dratch as Roger and Virginia Clarvin. “At this point during the soak, my lover and I usually crave spiced meats.”

One’s bourgeoisie sense of propriety might be offended to hear about the “mascara, blood, ash and cum on the Rorschach sheets where we make love.” Then again, the reference to Rorschach tests is telling, since Tillman is clearly proud enough of this line to print it on tote bags. What do you see in that line? If you’re skeeved out by it, well maybe these aren’t the love songs for you. If you appreciate the image, there’s plenty like it to follow.

These twisted tales are set against instrumentation far more lush than what we heard on Fear Fun. Almost every song features strings. Whereas a lot of Fear Fun sounded like the White Album, Honeybear sounds more like Mind Games or Walls and Bridges. The heavy-handed arrangements work great on intense songs like “An Ideal Husband” where everything sounds overwhelming and evil. But “When You’re Smiling And Astride Me” sounds too much like terrible mid-70s puss-pop/soft rock; the slide guitar tone, the soul sister background vocals, the cloying strings, it’s just too much schmaltz.

“True Affection,” on the other hand, uses synth bloops and programmed beats and sounds out of place. Tillman wrote that song “on tour while trying to woo someone with text message and email and trying to make a connection that way and the frustration of that,” he told Grantland. “So that song had to be synthetic and inorganic.” Interesting concept, sure, but a little too clever for the song’s own good.

But these quibbles don’t diminish the impact of the album as a whole. High points such as “Chateau Lobby #4,” “The Night Josh Tillman Came To Our Apartment,” and “Nothing Good Ever Happens At The Goddamn Thirsty Crow” more than make up for the occasional misstep. Producer Jonathan Wilson knows how to get a good performance down on tape, and as Tillman says, he is “truly singing [his] ass off all over this motherfucker.” His voice is incredible throughout.

I like Father John Misty. I feel like I get Tillman’s sense of humor, and I appreciate the high bar he set for himself on this album. “My ambition, aside from making an indulgent, soulful, and epic sound worthy of the subject matter, was to address the sensuality of fear, the terrifying force of love, the unutterable pleasures of true intimacy, and the destruction of emotional and intellectual prisons in my own voice.” Honesty and earnestness obviously do not come easy for him, but he’s trying…in his own Misty way. He’s still a smartass, for sure, but isn’t that the best kind of person to spend your life with?

Continue reading Has Father John Misty become Roger Clarvin?

John Travolta & Olivia Newton-John – This Christmas

Olivia Newton-John Travolta - This ChristmasJohn Travolta & Olivia Newton-JohnThis Christmas (Universal)

The pairing is complete nostalgia. There is no other reason that John Travolta and Olivia Newton-John are together for a Christmas album aside from the fact that they were both cast together in a small little movie musical called Grease over thirty years ago.

Grease has flourished since its first run on charm alone. How else can you explain the impossible plot of an Australian immigrant–who is hot off an innocent summer fling with a local gearhead–as she navigates the social landscape of high school with a collective of sexually active girls, headed by a 34-year old Stockard Channing?

As the main characters in the film, Olivia and Travolta aren’t particularly compatible on screen and their voices don’t blend together all that notably during their duets. Regardless, they have managed to become the biggest selling duet in pop history and their presence in Grease completes the film’s campy homage to 50s B-movies, giving all of that aforementioned improbability a free pass.

How these characters have managed to ride Greased Lightening up through the skies and endured for so long is pretty remarkable, so the idea of them returning together to perform Christmas music isn’t completely out of the realm. Unfortunately, when one doesn’t properly attend to the execution of such a reunion, what you get is a record that’s more acknowledged for its weird aftertaste than musical flavor.

I won’t even mention the cover, because it’d be like bitching about how Kraft Macaroni and Cheese tastes nothing like a homemade batch of the gooey comfort food. This is truth in advertising, and the only thing that would make the cover of This Christmas more awesome is if Travolta sported a cheesy seasonal sweater.

As hard as it is to be polite about the cover art, I simply cannot get away from all of the tabloid overtones when Travolta takes over the resistant role of “Baby, It’s Cold Outside.” We’re all accustomed to Olivia’s occasional glimpses as the sexual aggressor (Shake Shack, anyone?), but to hear Danny Zuko put up a fight to Sandy’s advances thirty years after the fact makes for a perfect hushed whisper of “Beard!”

There are other laugh-out-loud moments within This Christmas that are much less juvenile, but equally surreal. Like the part during “I’ll Be Home For Christmas” when Barbara Streisand pops in for a verse for absolutely no reason at all.

Speaking of guest cameos, there are tons of ‘em. From another brake-slamming appearance (this time with James Taylor on “Deck The Halls”) to a not-so-subtle nod to the Scientology folks with some ivory-tickling from Chick Corea, John and Olivia bring a whole slew of friends to join in their Christmas spirit and it’s as sincere as you pretending to think the gag gift you get at work during your department’s holiday party is funny.

There’s octogenarian Tony Bennett who drops in for “Winter Wonderland,” if you count having your verses recorded at a completely different studio during a completely different session as “dropping in.”

ONJ brings out longtime musical partner John Farrar for the record’s lone original track “I Think You Might Like It.” Farrar was responsible for many of Olivia’s biggest hits, and he served as both the writer and producer for “You’re The One That I Want,” the hit single that propelled the pair into the record books.

Farrar’s latest tune is being called the sequel to that Grease classic, and it’s hard to dispute that claim since it follows nearly the same chord progression under the guise of some light country swag.

Clearly, I’m not the man who should be reviewing This Christmas because I’m overflowing with cynicism at every turn.

So I ask my wife, who often fills the house with a bit of Christmas singing of her own during the holidays, to offer her opinion of the pairing. Suddenly, I find her singing along with This Christmas, causing me to consider that maybe it is my jaded outlook that’s causing me to be so dismissive of this holiday collection.

When I ask her if This Christmas has caused her spontaneous outburst of seasonal caroling, she admitted that it wasn’t the quality of the songs that prompted her singing, but just the familiarity of the material.

Indeed, the selection doesn’t stray far from the obligatory set list that every holiday record seems to cull from. Case in point: ONJ has now selected “Silent Night” for every Christmas album she has released.

This Christmas is the perfect holiday record for anyone who has been waiting since Two Of A Kind for the return of John Travolta and Olivia Newton John. Beyond that, This Christmas is another run-of-the-mill collection of uninspired holiday classics featuring a bunch of questionable guest appearances and two longstanding friends who can’t seem to get away from those hallowed halls of Rydell High.

An extra star has been added for this release as all proceeds from the sale of This Christmas go to the artist’s charitable foundations.

Video: John Travolta & Olivia Newton-John – “I Think You Might Like It”

I Think You Might Like It

Lost Classic: Roxy Music – Viva! Roxy Music

Roxy MusicViva! Roxy Music (Virgin)

During my first year of high school, I befriended an upperclassman who shared my obsession with rock and roll music. The two of us were also similar in trying to expand our collective musical knowledge by exploiting every opportunity that presented itself to us so that we could explore uncharted music together.

For my friend, an opportunity presented itself at his job. He “babysat” the automated music playlist at the local FM radio EZ listening station on weekends during the overnight hours.

It drove my friend crazy. After only a few weeks of it, he began to think that the small wage that he was earning was enough to endure the 6 hours of Ferrante & Tiecher format that pumped through the studio monitors. Never mind the fact that he barely uttered a word during his shift as the only time you would even hear him over the air was reading the weather forecast twice an hour, and even that was committed to tape.

The inactivity gave him a lot of free time. He began to snoop around the facilities and noticed that the Program Director for the station occasionally left the door to his office unlocked. During one clandestine operation, he discovered that the shelves of his boss’ office contained a huge array of promotional records, some of which the PD brought from other radio stations.

Instinctively, he began to stuff his book bag with some of the titles, not with the intent of stealing them, but instead to borrow them until the next airshift so that he could dub them off on to cassette.

He began inviting me over to his listening sessions, and I would dutifully wait my turn to fill up a few blank Maxells. The records were mostly A.O.R. titles that graced the cutout bins while providing a glut of promotional albums that would find their ways into the personal collections of radio programmers across the country.

I listened to a lot of new music thanks to my friend’s system, everything from Graham Parker to a live Ramones record (It’s Alive). Every week was a new adventure. On occasion, you’d get a real dud–The Boomtown Rats Tonic For The Troops immediately comes to mind–but the beauty of magnetic tape was how its contents were just a red button away from extinction.

Conversely, there were those records that proved to be so good that I would punch out the safety tabs on the cassette, a feature that prevented someone from accidentally erasing over a particular selection.

Such was the case with Roxy Music, whose live document Viva! made its way to my friend’s turntable and onto a waiting cassette that stayed with me for many years.

I loved the record’s aggressiveness. In fact, it may be the only document of the group that suits the sonic vision that their own name coolly suggests. I fell into it with such great force that I ordered their newest title from Columbia House, Avalon, and became immediately disappointed that they had turned into a bunch of pussies with that record.

Time, repeated listens, and that silly notion of how Avalon is required coitus music, have changed my perspective of that record, but Viva! has always remained my first love, and the first reason why I began exploring the group’s catalog.

Viva! is not found on the recent The Complete Studio Recordings (for obvious reasons) and it’s a record that is curiously overlooked by many Roxy fans. The chief complaint that I hear from them is actually one of the reasons why I love with the record: its brevity.

Clocking in to just barely fit on to one side of a C-90 tape and providing only eight songs to promote a very worthy catalog, Viva! Roxy Music demonstrates a very progressive rock band, one that sounded heavier than their studio versions and one that possessed some very real rock and roll chops.

Beginning with “Out Of The Blue,” the opening track finds drummer Paul Thompson trying to knock the “art rock” label right off the gallery walls. Guitarist Phil Manzanera weaves a very hypnotic guitar phrase while Andy Mackay’s lays down a haunting oboe…that’s right, oboe…making this version a very good candidate for actually being better than the studio version found on Country Life.

This high-energy mix is apparent on nearly all of the tracks on Viva! suggesting that Roxy Music was a band of very capable and exciting performers, ones that contradict the button-down persona of their image. The record clearly proclaims the musicians to be worthy enough to energize even the most pretentious of fans who may view Roxy Music as somehow beneath such primal urges.

Now that we’re all giddy from the nostalgia that The Complete Studio Records brings, and now that the box set correctly bestowed Roxy Music as one of the genre’s most creative forces, it’s time to consider Viva! into the tapestry. It’s a unique document of the band, rolling up their sleeves and slugging out an honest day’s work on stage and on fire.

Roxy Music – The Complete Studio Recordings 1972-1982

Roxy MusicThe Complete Studio Recordings 1972-1982 (Virgin)

A few years ago, I named Bryan Ferry’s Olympia release as worthy enough to receive the Roxy Music moniker. The argument went that the Roxy personnel all took part in its creation (including Brian Eno) so why not just used the brand name?

I had a chance to review that brand recently, thanks to the newly issued Roxy Music box set, The Complete Studio Recordings 1972 – 1982. And while I still would have no trouble with calling Olympia a Roxy Music album, the new box set has provided me with a renewed appreciation of why Ferry decided to leave well enough alone, because what they accomplished during their 8 studio records is already better than “well enough.”

The Complete Studio Recordings 1972 – 1982 is a ten-disc collection of those eight records, with the additional two housing the band’s debut single (“Virginia Plain” may be worth the price of admission alone), their b-sides, and the endless mixes on all of the Avalon singles.

Since we’ve already seen Roxy Music’s catalog reissued with the allure of remastered mixes, and since The Thrill Of It All had already served as a boxed compendium, why would anyone need to revisit the band in another career overview?

For me, it was a matter of simple mathematics. Having not gotten beyond a well worn, first generation cd of Avalon (that after a well-worn vinyl version from the friends at Columbia House) and some equally hissy copies of a few other titles, I knew that I’d eventually need to find a home for every single Roxy release. The new box set is priced low enough to hit everything at once.

That sticker price gets every release the full reproduction gatefold sleeves and, perhaps more importantly considering our trend on the loudness wars, a tinker-free release of the original recordings themselves.

This set represents the original mixes–for better or worse in some cases–with no hint of additional compression or heavy-handed eq’ing. That’s important when dealing with a band like Roxy Music, who seemed completely focused on their attention to detail.

“For worse” would be the awful mix that hindered the debut, to the point where Bryan Ferry himself wanted to redo the entire album for years after, because of the record’s unforgiving mix. They got better–as in remarkably better–on the follow-up For Your Pleasure, which finds Ferry exerting his dominance over Eno in the band’s arrangements.

In fact, For Your Pleasure not only shows the band to continue to grow without the aid of Eno’s input, it also finds them growing better as his role diminished. For Your Pleasure secures the band’s place in history even as their sophomore offering, and it’s just one of many discoveries that I found from The Complete Studio Recordings.

There’s two other must have releases, featured in their original and intended mixes that are, without question, deserving of everyone’s record collection: Siren and Avalon. Each effort shows the band in periods of enviable growth and brimming confidence. All three records taken in once again show a band perfectly adaptable at reinventing themselves, seemingly without sounding as if they were even setting out to do exactly that. They stumble into the career building moments with such ease that it makes the entire Eno departure feel like a necessary decision that allowed the band to become as great as they were.

But the real treat with The Complete Studio Recordings is re-examining Roxy Music’s other records, which pale only because that aforementioned trio of essential records shine so brightly.

I remembered being drawn to Country Life as a teenager, most assuredly for its risqué cover and confirmation of Bryan Ferry’s prowess as a ladies man. I am now drawn to it entirely from its content inside. It is a collection of consistent growth, finding the band very comfortable with their fashion and abilities as musicians. This is the sound of a band working hard at their craft, while donning a business casual clothing sense during the rehearsal time.

By Manifesto! the band is acting the part of royal statesmen while Flesh + Blood–a personal favorite that’s much maligned by others outside of the Roxy faithful–begins to show signs of a new subgenre, one whose name doesn’t even exist.

I understand the complaints of how Flesh + Blood is nothing more than a tepid return from a lengthy (by 1980 standards) hiatus, but for me it sounds like a victory lab before unleashing what would become the band’s signature opus, Avalon.

Avalon benefits the most from the 2012 remastering as it leaves the record’s rich texture and subtle dynamics in tact, a rare feat during a time when most re-issues are met with a tradition of remixing records of some note to cater to the thin fidelity of today’s earbud generation.

The Complete Studio Recordings 1972 – 1982 hints at a much different era. It reflects a time when bands were given a wide birth in order to grow and develop. It also demonstrates how this freedom can actually lend itself to fostering an environment where a band can become great on its own, through natural selection and just plain old stubbornness.

It is a necessary document of the band’s legacy and consistency, one that’s needed not only out of the duty that’s created from their influence, but for the sheer enjoyment of listening to a band grow, develop, and become great.

What makes it such a requirement is how it shows that Roxy Music managed to do that not just once or twice, but for at least three of titles included with this collection. And to be able to achieve this in the span of a decade makes this box set not only complete, but completely essential.

Cat Power – Sun

Cat PowerSun (Matador)

The story goes that when Chan Marshall set off to begin the follow up to the very hard to follow up The Greatest, she presented her progress to a friend. She could tell that the new material didn’t grab her friend in quite the manner that she hoped, and after some additional probing, the friend declared that the new songs sounded pretty much like any other Car Power song.

And Chan Marshall was tired of sounding like the “old” Cat Power.

More power to her–pun intended–as the process of avoiding stagnation has given rock and roll some of its best moments.

It has also given it some of its worst, and the risk for epic failure gets greater when artists begin to incorporate other styles and genres that are way beyond their limits. For example: Bob Mould may be a fine dj on the weekends, but that doesn’t mean he makes a mean EDM record.

More to the point, it doesn’t mean that I want to hear a Bob Mould EDM album either. I want my musical heroes to be brave enough to listen to that bit of self-doubt in their heads that says, “Maybe I shouldn’t be doing this.”

Chan Marshall shouldn’t be making records like Sun, plain and simple. That’s my opinion, and it comes from the same one that thinks The Greatest was a risky album on its own. It, and to a lesser extent Jukebox, positioned Chan into promising new direction. Instead, she has now squandered that promise into a half-baked record of songs that seem to insinuate that the recording session for Sun was nothing more than one big distraction.

There are beats, rhythms, vocoders, beeps, and other creations that seem to be the result of a shopping spree in the electronics area of Guitar Center. There’s no rhyme or reason to when and why these sounds are introduced in a song, so you’re left to assume that shit just kept getting added on until Chan finally had the empathy to say “Stick a fork in it. It’s done.”

The nonsense starts early. The opener, “Cherokee,” gradually brings the listeners into Chan’s left turn, starting with a shimmering guitar before the manufactured beats make their entrance.

And you know what? It’s ok for a moment. When Chan mutters “Never knew love like this,” she sounds like she’s on the other end of a dial-up internet connection. Big beats come in and things get a little shaky, but again, Marshall hides it with a great chorus of repeated “Marry me to the sky,” bringing a bit of a lyrical connection with the song title.

Then, at exactly 3:05 into “Cherokee,” the sound of a fucking hawk or some other bird comes in. Immediately, I was like “What the fuck was that?!”

I quickly rewound and discovered the truth, and it was at that moment that I decided that I didn’t like the new Cat Power album.

The title track is just an overloaded mess of processed vocals and I’ve even started to lose interest into the briefly infectious lead-off single, “Ruin.”

My wife, who owns quite a large collection of Glee product, declares “3, 6, 9” as “strangely good” while it only makes me say, “I see what you did there!” What Marshall comes up with is a hooky bit of prose that repeats ad infinitum.

The darker moments are the best, and they will be the only moments that I’ll end up leaving in my playlist after this review posts. “Always On My Own” and “Human Being” are harrowing tales, but it’s “Manhattan” that serves as the best interpretation of Marshall’s desire to be different.

With it’s cheesy drum machine and simple, four-step piano phrase, Marshall double-tracks her voice with an emotive lead over her trademarked low-end mumble. “Don’t look at the moon tonight,” she warns “It will never be Manhattan.”

How can I stay mad at a line like that? I can’t, but I can leave off a good chunk of Sun and wonder if this is the work of a woman who’s heart isn’t in it anymore. Because Sun sounds more like an obligation, if you ask me, with each and every electronic addition seemingly introduced to cover up the fact that the album has very little heart behind it.

It is a record that began with a notion that it needed to be different, when it should have been looked at as a record that needed to be better than The Greatest.

Video: Cat Power – “Cherokee”

Cat Power – Cherokee

MP3: Cat Power – “Ruin”

Sweet Billy Pilgrim – Crown and Treaty

Sweet Billy PilgrimCrown And Treaty (EMI)

Occasionally, an album arrives and upon first listen you get the sense that the music jumping out of the grooves wasn’t created in a sterile studio with too little daylight and too much attention to detail. With Sweet Billy Pilgrim’s third release, Crown and Treaty, you get the sense that the recording studio is nothing more than a few rooms in a house with wires littering the floor and dirty dishes piling up in the kitchen sink.

Fuck those chores, particularly if the end results command a record as eloquently crafted as this. Crown and Treaty doesn’t suffer from any poor fidelity sonics resulting from this homespun approach. It’s as detailed as anything as you’d expect from a band with a recording budget that matches the muse that they’ve set out to scale. This muse is in full, beautiful array throughout Crown and Treaty, in what is certainly one of the best albums that you’ll hear all year.

Crown and Treaty incorporates delicate organic instrumentation (clean guitars, banjos, pianos, whatever’s lying around) with some great harmonies, initiated by Tim Elsenburg’s gentle voice. With the recent addition of Jana Carpenter to the fold, Sweet Billy Pilgrim has now found a wider range of vocal emotion, which only begins to take off during the album’s second half.

Prior to those moments, Crown and Treaty offers a wide range of expression through its original arrangements and Elsenburg’s own imaginative lyrics.  There’s a sense of maturity throughout his study on melancholia, suggesting that the existential crisis that we all experience is preordained from day one. Or, as Elsenburg himself details more succinctly in one track, “Life is a place we arrive at upside down.”

If it’s not his own demons he’s documenting, he uses other source material for the task. “Kracklite” appends Brian Dennehy’s character in the 1987 The Belly of an Architect and uses it as a discussion of the folly of trying to overcome our own mortality. “Monuments we build  tumble to the ground,” Elsenburg sings, accurately pointing out that even the most majestic of structures we place on this earth are “just another way to be forgotten.”

With Crown and Treaty, Sweet Billy Pilgrim have delivered their homespun masterstroke, an album that only begs the question of what other gems do they have hidden in their house of creativity and enviable sense of arrangements. Here’s hoping that this musical monument never gets forgotten.

Video: Sweet Billy Pilgrim – “Archaeology”

Sweet Billy Pilgrim – Archaeology (Official Video)

Video: Sweet Billy Pilgrim – “Kracklite” (acoustic version)

Sweet Billy Pilgrim – Kracklite (acoustic version)

Video: Sweet Billy Pilgrim – “Blue Sky Falls” (acoustic version)

Sweet Billy Pilgrim – Blue Sky Falls (acoustic version)