The album that launched a thousand gasps when it leaked is finally here. Specifically, you have to point a finger at the song "Highly Suspicious" -- which sounds like Cameo with flying V's -- as the main source confusion. Did someone lace their sticky icky? Taking the album as a whole, the song is a bit of a red herring, but the band doesn't do themselves any favors by making it the third track, when it really needed to be a 'fun' b-side -- a bearded lady to be exposed only on tour -- and this is coming from a fan of Prince... or rather, bearded ladies. Getting around that paranoid "peanut butter pudding surprise," much of the rest of the album harkens back to the AM radio sounds of At Dawn, but with a bit more studio wonkery. Cue producer Joe Chiccarelli, the very same nob-twiddler who's work on last year's Shins album (Wincing the Night Away) also raised some eyebrows of fans. First thing you'll notice that's gone is the airy reverb that soaked previous albums, which is understandable given that acts like Band of Horses and Fleet Foxes have already stepped into those reverb shoes. But there's nothing in it's place to give Jim James' vocals a podium to project, and as a result, many of the songs suffer without that engine powering it. One thing the album has going for it is a diversity of sound which, aside from "H.S.," plays well together in the sandbox MMJ has constructed here. Bookending many great (albeit syrupy orchestrated) AM radio style songs are the tracks "Touch Me I'm Going to Scream, Pt. 1" and "Pt. 2," which are the best example of expanding their sound without overreach. Meanwhile, for me, "Librarian," is musically a highlight -- lyrically, however, it's a bit questionable, stalking this poor four-eyed librarian... I half expected to hear Kevin from The Office to chime in with a "can you say 'these are due back Thursday?'"
While there isn't a suit and tie involved, the title of Robert Pollard is off to Business signals a change in the tunesmith's approach, with a very workman like ten song clocking in close to 35 minutes. Add to that the fact that this will be his only release this year, and you get the most conventional release that Pollard has ever done. Enter the ballad "The Blondes" into evidence, as item A. Then cue "Gratification to Concrete" with it's Frampton-like talk box guitar line, and the album's in danger of approaching MOR territory. Disjointed rockers like opener "The Original Heart" and "1 Years Old" remind us of old Bob, and "Weatherman And Skin Goddess" comes close to his best pop. He may be off to business, but he's still not taking himself too seriously ("Confessions of a Teenage Jerk",) which is reassuring.
Multi-instrumentalist Shara Worden (My Brightest Diamond) has been working on parts of this release for six years, predating her debut, Bring Me The Workhorse and even her work with Sufjan Stevens. Lush in arrangement like Joanna Newsom's Ys, Worden is similarly expanding her sound here. Since it's in Rhapsody a week early, and I'm just hearing it for the first time, I may have to get back to you on it later.
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