Record Reviews
Tracey ThornOut of the Woods (Astralwerks)
Twenty-five years between solo albums may seem like an unduly long time, but on Out of the Woods, Tracey Thorn's follow-up to her 1982 solo debut A Distant Shore, it feels like a natural progression. In the intervening years, Thorn and partner Ben Watt explored diverse musical styles as Everything But the Girl, touching on everything from bossa nova to skittering modern dance beats. As a results of those forays, Thorn has learned the best settings for her distinctively rich voice.
The tone of Out of the Woods is set with the stately "Here It Comes Again," where Thorn's delicately high vocals are bathed in plucking strings and symphonic flourishes, followed by the bittersweet electronica of "A-Z," an ode to London's ability to "save a life." Thorn sprinkles bright numbers throughout the set, revisiting the breakout club success of "Missing" on "Grand Canyon," offering up the sprightly, 80s pop of the first single, "It's All True," and exploring a surprisingly sexy side on a cover of Arthur Russell's "Get Around To It," with The Rapture's Gabe Andruzzi on saxophone.
The focus, however, is on more bittersweet, introspective fare. "Easy" and "Falling Off a Log" are classic trip-hop numbers reminiscent of the sound Everything But the Girl mastered in the mid-90s. Elsewhere, Thorn nostalgically namechecks childhood heroes Terry Hall, Siouxsie Sioux and Edwyn Collins ("Hands Up to the Ceiling"), ruminates on motherhood ("Nowhere Near"), and breaks down to the accompaniment of spare, chiming synths ("By Piccadilly Station I Sat Down and Wept"). The mood is only lightened with the funky, midtempo closing track, "Raise the Roof." Yet, the tone of the album is never depressing. Thorn instead chooses to envelop the listener in a staggeringly beautiful downbeat melancholy, punctuated with moments of transcendent joy. It's a sober, but hopeful, reflection on life itself from a master of the genre.
- Stuart Myerburg
Tracey Thorn
Astralwerks
PabloHalf the Time (Curb Appeal)
Whether breathing into a harmonica or interpreting a Zombies classic ("This Will Be Our Year") with soulful sincerity, Paul Schalda carves out a distinctive presence in a crowded field. Despite his optimistic choice of cover tune, Schalda's band Pablo offers a sharp take on being young and emotionally adrift. Pablo, which features Schalda's brother Will and wife Maggie in supporting roles, wraps his declarations of unrest in mumbly, unpretentious warmth. Their rootsy, acoustic city-meets-country approach has the earnestness of Ben Kweller and the slippery white-boy blues of "Loser"-era Beck, with a rocker's heart in place of Mr. Hansen's robot parts.
Pablo mainly operates within a hazy, low-key paradigm, the better to showcase sing-along melodies and a light dusting of psychedelia. "Get Around" hums with a bright arrangement and bitter reflections on losing faith; boho finger snaps and a rich piano sound dress up the title track. This is a band that excels at what Alicia Silverstone's Cher would term "complaint rock." Their most effective anthem, "Loser Crew," builds to a grand, anthemic expression of angst ("Why I can't get out of / My own fucking shadow / Is a mystery to me").
Pablo has taken its message to the people via tours with folksy acts like Jennifer O'Connor and Kevin Devine, as well as youth-skewing bands like The Hush Sound and Straylight Run. One uncharitable teen who I spoke with at the latter event seemed unimpressed, but give her a few years. She'll eventually figure out who The Zombies are, and that Pablo casts uncertainty in the loveliest of lights.
- Amanda Langston
Pablo
Curb Appeal
Kurt AdamThe Demos. Act One. (self-released)
Every artist starts somewhere; this one picked up a guitar and pressed record. The Demos is just that, a peek inside the workbook of Hollywood-based singer-songwriter Kurt Adam, who lies serene and content on his CD cover, instrument in hand. While this is a rough, self-recorded collection, the results are memorable. Adam has a sweet and plaintive voice that leaves vapor trails over his stripped-down tunes, with a mood and overall musical style not unlike a more sedate Rhett Miller. Bouncy numbers like "Wake Me Up" and "Good Sorrow" are representative of his laid-back introspection, while the refrain of "Haven't We All" resonates with vulnerability. Lest he be penned in by one sound, "Brand New Start" shifts focus with a bent melody and droning vocal.
There are a number of songs here which deserve more formal treatment. However, the simplicity of Adam's voice and guitar provide a strong foundation on their own; one hopes that they're not too overdressed in their final form. Adam's solid melodies and quiet focus draw you in, but his relatable everyman quality is also a valuable asset. In local terms, he's the kind of singer who could develop a faithful Eddie's Attic crowd - and I mean that in the least annoying way possible.
- Amanda Langston
Kurt Adam
Kurt Adam on CD Baby