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This beguiling, but at times rather confusing
album presents a rather difficult prospect to this critic. Son
Volt's infectious country/ folky/ rocky/ bluesy/ whatever is
so distinctive it's rather hard to describe. However there are
oodles of influences to to think about while listening to the
14 cuts on this album.
On songs like "Driving The View"
and "Flow" one could hear a sort of "Unplugged"
Boston. In "Jodel" one might hear an uptowned and urban-folkified
Alabama. (This song also includes the first of the albums big
confusions... what is this wailing dissonance opening the track?
This noise seems to have NOTHING to do with the rest of the song
and if its supposed to be ARTSY it isn't.
In two of the most engaging tracks on the
disc "Straightface" and "Strands" one can
hear nifty combinations of calmed down Southern Fried Rock like
Thin Lizzy and Bad Company mixed together with a less snooty
R.E.M. (Major confusion #2, on "Strands" -- one hears
the title of the CD "Wide String Tremolo" , but on
two listens of this cut I never hear the word Strands.)
Finally, there's some more countrified
influences going on in the Steve-Earle-with-Less-angst tinged
"Dead Man's Clothes". Same with the Drivin-n-Cryin-esque
songs like "Blind Hope" and "Medicine Hat".
But to conclude with confusions.. why is there some barely 20
second instrumental Irish fishing ditty (appropriately called
"Chanty")? And conversely, why does an almost Joan
Baez-y folk song (which COULD have been the album's highlight)
called "Streets that Time Walks" go on for like 2 days?
This album definitely shows Jay Farrar
and David Barbe have talent since they have mixed, produced and
written all this music themselves. Also, I think their talent
definitely deserves a good, objective listening. I'm just not
sure I understand it or get it. If you happen to take a listen
(which you should) and you do actually get it, please get back
to me! |
