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07 August 2005 |
Jay Farrar Sebastopol - (Artemis) Like most people, I remember where I was, who I was with, and how I felt after hearing Uncle Tupelo for the first time (at the late Bedrock Records in Toronto, Ontario, with the shopkeep Gord, and it felt good). A lot of it had to do not only with the urgency with which the trio played their country-punk hybrid but with the evocative vocal of guitarist Jay Farrar. Of course, Uncle Tupelo became Wilco (under Jeff Tweedy) and Son Volt (under Jay Farrar) and one of the greatest bands of the time dissolved only to become two of the greatest. Much has been said, over and over, regarding the dissolution of the partnership Tweedy and Farrar had in Uncle Tupelo - so there's really no point in getting into that at all. Time's better spent listening to what the two have done since and what the two are currently up to. With that in mind, Jay Farrar's Sebastopol stands tall and proud. Actually, it stands tall and proud regardless of perspective. Farrar has put Son Volt on, at least, hiatus and retreated to offer his most adventurous and bold recording since Son Volt's debut Trace . To say he sounds rejuvenated here is an understatement. To some, it will sound like Farrar is abandoning a more dedicated country style for popdom on parts of Sebastopol , while others will embrace the obvious creative spark that runs through these songs. The opening Feel Free sets a standard that runs throughout Sebastopol . As adventurous as anything he's done, Farrar combines his storytelling with a disjointed drum and delicate guitar flourishes over the hypnotic keys of guest Steve Drodze (of the Flaming Lips). The effect here is to go for a "big" sound - the Flaming Lips association being significant (had Wayne Coyne decided to go the country route he may have ended up with something similar to Sebastopol). Even grander is Voodoo Candle , where a chorus of, "It's all right, it's allright, I know that it's all right" never sounded more powerful (thanks in part to the drums provided by Jon Wurster of Superchunk). This doesn't mean that Farrar has laid his acoustic guitar down - far from it actually. Dead Promises and Outside The Door run in more familiar territory, but still incorporate enough sonic texture to keep it within Sebastopol 's overall sound. Farrar's love of true country even gets a chance to be soundly satisfied here - most notably by way of Barstow . Gillian Welch supplies a lovely vocal with Farrar here, while David Rawlings' lap steel hit all the right marks. Throughout all of what Sebastopol offers stylistically, Farrar keeps consistency here with not only his arresting vocal style (his delivery on Make It Alright is a career high) but with his always thought-provoking songwriting as well. A powerful combination. Eagerly anticipated by Farrar's cult-like following, Sebastopol finally arrives after having its demos make the mp3 rounds for what seems like an eternity. Yes, it's worth the wait and yes, it will be heralded by mainstream and independent press alike as one of the best releases of this year. Don't look for an argument from me.
8.0
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