Son Volt: Okemah and the Melody of Riot

by Morgan Clendaniel for Earvolution.com

It's been a long time since the last Son Volt album. So long, in fact, it's difficult to even find their previous three albums in stores. But with the new record, Okemah and the Melody of Riot, Jay Farrar presents an entirely reconstituted Son Volt, and some of the strongest songwriting he has done in years, either in Son Volt, or as a solo artist.

As a lyricist, Farrar has become more and more obtuse as time has gone by. He has moved from the more cohesive lyrics he wrote earlier in his career, to dense impressionistic songs. But the words are not, for the most part, incomprehensible. Rather, they form evocative pictures, mostly of Farrar's impression of a downtrodden world that is slowly crumbling. Farrar's voice can, for some, take some warming up to. Its droning quality, however, fits perfectly into the images that his songs create; a sort of rusted-out American reality where his weary, cracking voice is the best way to sing about anything.

For Son Volt, the roots sounds are still there from the bands' early days as part of the alt-country movement's vanguard. But, with the new line-up there is a lot more emphasis on the "alt." All but two of the songs on Okemah are propelled by loud guitars that range from shimmering to brash and crunching, including some excellent solos by Farrar and new guitarist Brad Rice. It's a loud record, and Farrar seems to be releasing a lot pent up anger about the state of affairs, including some aimed at President Bush - "Jet Pilot" is one of the more creative jabs at W that music has seen. And, on the one-two punch of "6 String Belief" and "Gramophone," Farrar indicts the sad state of modern music, while at the same time turning out two of the album's best songs.

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