Ben Heller
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Let’s face it; Beck needed a return to form. His last two long players ("Guerolito" and "The Information") were cursed with so many weighty inconsistencies that even the most loyal followers must have questioned his wisdom. Fortunately, owing to his immense chameleonic abilities, one knew Hansen wouldn’t stand still for long. The Danger Mouse produced "Modern Guilt" is his most conventional, melody driven recording since 2002’s outstanding "Sea Change", discarding the scattergun straddling genre experimentation at all costs in favour of a short, focused set of psychedelic Rock and Pop that may not be his best, but has genuinely halted the slide towards mediocrity that had dogged his recent works. At the heart of the record lies trademark minor key synth progressions, scratchy rhythms and Beck’s typically downcast lyrical melancholia. Danger Mouse adds his own brand of 60s tinny beat pop that served so well on his Gnarls Barkley projects. The opener ("Orphans"), takes the melody from Free’s 70s hit "Wishing Well", and with authentic artistic creativity, genuinely sounds like the 60s fore runner it aspires to be.
The real star of the show is the spacious psyche rocker and lead off single "Chemtrails", which drifts along with the kind of sparse beauty you’d have expected from a Nigel Godrich collaboration, its sombre atmospherics superbly enlivened by Joey Waronker’s outstanding drum accompaniment. Apparently inspired by Aphrodite’s Child’s 1972 prog rock song "The Four Horsemen", from the vast concept album "666", the song reminds the listener that at his best, Beck is still an illuminating talent. "Gamma Ray", the second track and follow up single, harnesses tried and tested dualities of upbeat music and dark lyrics, as he ambiguously rambles of ecological disaster and Armageddon played out over a thudding bass rhythm and chiming keyboard fill. In addition, there are memorable moments from the more personal closer "Volcano", and the title track.
There’s little for Beck fans to worry about, because "Modern Guilt" provides ample proof that he’s not lost his creative ‘mojo’. It’s more defined, carefully crafted, and ultimately the most complete listening experience since "Sea Change".
7/10
"Orphans"
It’s wholly obvious that an album with such a contemplative title as "Exit Strategy Of The Soul" should be book ended with an instrumental prologue and epilogue that neatly binds the content like any good movie title sequence. The fact is, that the two songs in question ("Spiritude" and "Dawn Anna") snapshot Martin Terefe’s broad minded attempt to produce a resonantly fuller sound whilst retaining the resolute intimacy of Sexsmith’s ornate vocal and succinct Piano performance. The resultant recording works deliciously and Terefe must take a great deal of credit for this. For having recorded the basic tracks at his London studio, he decided to travel to Cuba to enlist the support of arranger Joaquin Betancourt, trombonist Amaury Perez and trumpeter Alexander Abreu who add a soulful backing, which the Producer describes as "Shadow Gospel". The horn enhancement comes to fruition immediately on the classy Soul/Pop love song "This Is How I Know", a gushing celebration of the arrival of Divine Right guitarist Colleen Hixenbaugh in Sexsmith’s life. The collaboration with fellow Canadian Leslie Feist on "Brandy Alexander" is a gentle revelation, the affecting frivolity of the lyric and the simplicity of the melody leaves the listener hoping for further bar-room creativity from the duo. Feist had originally recorded the song on her "Reminder" album from last year, and this addition is an undoubted delight.
The air of spontaneity that flows throughout "Exit Strategy Of The Soul" is partly down to Terefe’s confidence in Sexsmith’s abilities. Many of the basic tracks were recorded with just piano and guide vocal, with other instrumental accompaniment added in whichever studio (London, New York, or Havana) they chose to complete their work. In anticipation for the Cuban sessions Sexsmith wrote the climactic "Brighter Still" on the outbound flight which eventually would be recorded in one take, and the instinctive performance makes the listener feel like he/she is witness to an exciting musical discovery as the musicians intuitively construct the song before us. There’s a deep sense that Sexsmith knows his audience and their expectations and throughout the remainder of the album he delivers erstwhile tales of love and life in his unique unassuming vocal burr (which incidentally is getting better as he grows older).
Many may regard "Exit Strategy Of The Soul" as the highlight of Sexsmith’s long career. It’s certainly one of 2008’s rare heart-stoppers, but with such a high quality back catalogue the real question should be "Why is it that Ron Sexsmith is not phenomenally successful?" There’s little justice in this cruel world.
8/10
"Brighter Still"
Comments
Thanks for this. I have all of Ron's previous albums, yet I still am not crazy about his music. It sounds contradictory, but each time I think - well, that's enough. Then I hear a track or two off of the new one and the next thing I know it's in my hands. You may've just done it - again.
Dermahrk has it just right. I have most, if not all, of the back catalogue and was going to pass on this one until I heard the clips. Ron Sexsmith has been flying under the radar from a long time. Like Joe Henry, he sticks in my heart and mind even if the cruel world ignores him.
BerkeleyBob
a name I have heard a million times, yet never picked up an album. Liking the video and song enough to give it a listen
I still get sucked in by the hyper intensive buzz of amateur Indie bloggers from across the Atlantic. They write parables of other worldly affectations for bands I’ve never heard of, and by ingesting their superlatives hope that I’m one step ahead when the inevitable U.K. assault takes place. The bait that dragged my right hand directly in the direction of my wallet pocket was that this Austin trio drew many comparisons to legendary Punks, The Minutemen. "Bloody Hell" I swooned, and in the amount of time it takes to listen to "The Punchline" I was home and slamming this disc in the player, awaiting the next "Double Nickels On The Dime". Dubbed "Grog Rock" by drummer Josh Block, the first signs are excellent. The lead off track and single "Let’s Talk About It", a raw, primal 60s garage blast with distorted guitar effects and aggressive rhythms that seizes every ounce of cranial space and induces frantic head shaking and no shortage of "air riffing" to boot. It’s a thrilling opener, and introduces a kaleidoscopic world of influences, ideas and imagination that’s difficult to tie down, but interesting nonetheless.
With equal vigour the band’s template is acutely audacious in its generic musical crossovers, throwing in Country Rock, Indie Rock, and simple Pop alongside the Garage Rock of the opener. Mostly, it works well, as there’s strong underlying melodies to enhance the flagrant experimentation. Singer/guitarist James Petralli possesses an odd, but original vocal style which constantly switches emphasis between aggression and emotion to suit the dynamics of the song. The production is deliberately uncomplicated, enhancing their direct instrumental style and maintaining a sparse, but fresh appeal. The snappy changes through the genres hints at a band either still locating their identity, or deliberately intolerant of guidelines, limits or boundaries, probably a combination of the two. They even conjure up colossal twists and turns mid song, as on "Mess Your Hair Up" and "Don’t Look That Way At It".
Sometimes the original reason you’re drawn to an album may never be fulfilled. White Denim aren’t the new Minutemen, but as new Alternative Rock acts go, this three piece have genuine long term potential. For that reason, "Workout Holiday" may just be 2008’s happy accident.
7/10
"Let's Talk About It"
Comments
Oh, my boyfriend got this album and played it for me.
I agree with your review, although the album was a bit wasted on me, it's not really my style.
what are some of the blogs you check out? I recommend www.rcrdlbl.com (where I am associate editor)....White Denim is on our label actually...
Comments
Great write up, I feel the same way about his last two releases. I have not given this one a spin but will do so soon
Nice review. I felt the same way and smelled the "Sea Change" a mile away on the new record.