John Vanderslice is a wordsmith who deals in half-statements and metaphors intended to illicit a certain emotive response to his tirades. The musical accompaniment is daring, in that instead of pushing “forward” to more digitally precise sounds, he moves “backward” to sloppy production style and inclusion of ambient noises. Fixated on despair, Vanderslice is a fitting tour partner to Pedro the Lion, although it can get annoying pretty quickly unless you’re really sick and haven’t taken your medication in a few days. When Vanderslice engages in story-telling, he is at his best. When he engages in indulgent strangeness, he loses audience. Some of the more macabre stories make me wonder if John is writing from experience, or from sick fascination with the morbid.
Below is a song-by-song rating, out of five possible stars, and miscellaneous thoughts that should give a good feel for the album. You can read his lyrics here.
Pale Horse *
Dylanesque lyrics, poor recording quality, but maybe that’s a style thing – I think they call it sloppy Hi-Fi. Funked out beat change ups. Synthesizers come in like robots.
Up Above the Sea ****
Future-tech synth. Feels like 1936 Germany zone remixed for 2036. Hitman story, anti-gun propaganda, technical accuracy with a Bushnell scope. In the mind of an insane assassin. Decent piece of art.
Wild Strawberries **
Piano hunt-and-peck tune. Death of someone important, and suicide. In a cheery way.
They Won’t Let Me Run ****
Perspective of an irresponsible son of a powerful family who wants to run away from the consequences of his actions. Some viola background ads a pretty tone to the sick message.
Heater Pool and Bar – 0 stars.
Reeks of the asinine political commentary found with such lucid sources as MoveOn.org and Michael Moore. If you’re interested in an original thought, don’t look to John’s political rants. A must hear, if offensive.
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