 |
| Track list: 1. Capsized 2. Roma Fade 3. Truth Lies Low 4. Puma 5. Chemical Switches 6. Left Handed Kisses 7. Are You Serious 8. Saints Preservus 9. The New Saint Jude 10. Valleys of the Young 11. Bellevue 12. Shoulder Mountain 13. Pulaski Running time: 49 minutes Released: 2016 |
What is it with my 2016 purchases all falling in to A and B? This is another that shunts overdue posts further down the list. It is the third Andrew Bird album to appear on these pages and this is my first listen to any of the tracks. I skipped one in a shuffle an evening or two ago because I was primed to do this, and because Bird didn't fit my mood at the time - I can be picky like that. However now it is his game in town. I have the "deluxe" edition with 2 bonus tracks.
One of the first things I note in the booklet as I open the physical package is a thank you to Fiona Apple, who guests on one of these tracks... very interesting! But enough of the physicalities (deluxe is overselling it), and on to the listen. It catches me off guard with a rocky opening, electrified, nice cadence. Strong start. There is a funkiness to the rhythm, the roll of the piece, that I really like, and although it becomes clear that the song lyrics are less than inspired the vocal style and the overall feel of the track keep it interesting.
Roma Fade is more immediately recognisible as an Andrew Bird track - his distinctive staccato violin picking and whistling combination opening the track. There is a liveliness in the tempo here too, and some low-fi guitar work in the background, but here the initial star is Bird's voice. It becomes a bit lost in the other sounds as the track progresses, which is a shame but a sign of a growing and varied supporting cast of instruments rather than his performance tailing off. The track ends rather suddenly and we are pitched in to Truth Lies Low, which ... well, I can't find words to describe the odd effect here. It works, rather, but its a sort of low background hum plus voice. The dominant sounds are really hard to articulate. As the song builds it becomes a little more appreciable - the violin part coming in to give some top end. I find I like it a lot, though it touches on some sounds that make me think of cheesy lounge music or incomplete demo recordings in different places.
Andrew Bird isn't the first name that comes to mind when thinking about my favourite artists, but at the same time, his name on something makes it an instant buy from me by now. He is varied, which is one of the things I really like. The three songs so far have all felt very different in tone, and that continues to be the case with Puma, too. This is a man comfortable with several styles, rhythms and arrangements. In general this album seems to share a harder low-end sound than some others. The guitar work forming much of the structure a bit of a darker, tougher sound than the top end and influencing the overall sound of the songs more, without swamping the fiddling. It takes a while for the whistling to be broken out in full, but it is there on the intro to Chemical Switches, albeit in a slow, subdued fashion, subservient to the twang on the guitar. This track is really stripped back, acoustic only. Its the best yet - a really nice, clear melody and the right kind of feel for a Tuesday evening alone after (for the second day running) evening plans got cancelled. The song ends meekly, dropping out a little, but that's the only bad point.
Now we get a duet with Apple, whose first couple of albums are amongst my all time favourites. I am not sure that I would recognise her voice here if I didn't know it was her though... it is lower, older (no surprise some 20 years on from Tidal). Her voice here is lower than his in places, in tone if not in pitch. I find, though that the song is a little disappointing - not much to it, and I missed too many of the lyrics (that old problem) to get a sense of the point. The deficit in arrangement is shown up by what came before and what comes after.
I zoned out for a little bit, brought back around by a neat change of tempo mid-track in Saints Preservus (why the concatenation?). The pace injected is suddenly lost again and the piece turns almost classical, before the momentum is picked up again. Nicely done, and another sign of Bird's comfort across a range of performing styles.
I am trying to find more to say but I keep falling back on one cliché or another or something I have already said. Not my finest, clearest thinking tonight I am afraid. I would be lying if I said I was as engaged by this point as I was at the commencement of the album, but at the same time I am sort-of sinking into it, losing track of my thoughts because the space Bird creates is comfortable and pleasant. I am into the bonus tracks now. There is a bit of a hint of The Leisure Society about Shoulder Mountain, which is no bad thing at all, more present in the verse than the chorus. I really like this number. Pulaski rounds us out with an Asian-ish sound to the opening, though this is quickly lost for the vocal sections it returns for an instrumental insert later and makes for an interesting tune.
Overall I think this is a pretty strong album without ever really being stellar. It felt a bit like slipping into comfortable clothes after a day dressed up for work - relaxing, reassuring and taking a weight off. Like its creator, I doubt it will ever be consciously thought of as a favourite, but it hits a large number of notes that I really appreciate. Very glad I picked it up.
