If you've never heard of Dan Melchior before, you're not alone, but you are definitely missing out. The English native, living currently in Durham, North Carolina, has an impressive list of releases and collaborations. His career began with collaborations with garage-rock mainstays Billy Childish and Holly Golightly, but he quickly branched off to form his own band and do his own thing. The resulting band, Broke Revue, gained critical acclaim and a strong following before disbanding in 2004. Dan now plays under the name Dan Melchior und Das Menace, although on the recent record he is the only musician.
That brings us to Catbirds and Cardinals. The record recalls Syd Barrett with its clever lyrics and melodies that I can think of no other description besides "Barrett-like." If the album is reminiscent of Syd Barrett, it is not necessarily in specific style but rather in its spirit. The songs, overall, are very catchy but reluctantly so. The verses are somewhat jagged and abrasive, yet they give way to overtly catchy choruses that one could find easily singing in the shower. In this sense, Catbirds and Cardinals, may come off as conventional if not a bit quirky, but for the beautifully crafted barrages of noise that refuse to relent. The listening experience is both pleasurable and overwhelming as you find yourself amidst an ocean of fuzz and saturated vocals and guitars.
The records starts off very strongly. The opening "Summer in Siberia" might be the strongest track of the eleven. The song forfeits no introduction, but smacks the listener immediately in the ears as if to say "This record will be LOUD." But the chorus betrays the song's abrasive intent with its infectious, catchy melody. Try not to sing along. I dare you. The song establishes the character of the rest of the album: loud and fuzzy with melodies that position themselves uncomfortably between only two, alternating chords. And I mean that in a good way.
"Squalor on a Sunday" picks up right where "Summer in Siberia" left off. One persistent riff drives the whole song, while a brilliant organ part brings the listener back to 1967 London psychedelia. Hell, it might even be a Farfisa. An extended guitar solo pushes this song past the five-minute mark, making it the second longest song, but despite the singular groove, the song does not drag on. The length seems fitting to the song's psychedelic character.
The listener is given brief respite from the noise with the more calm "Deep Fried Circuits." If "Summer in Siberia" would be the fitting single off the record, then this song would make the perfect B-side. It provides the perfect contrast to the up-tempo, aural assault of the other songs. The song gives the album its crux, its shape: after it, the album re-builds its intensity rather than jump right back into it. Though sonically very different, "Deep Fried Circuits" does not feel like an outlier on the album. The organ parts and guitar solo give the song a cool intensity that allows it not to be a misfit, but rather a deep, long exhalation among the frantic breaths.
Finally, the album closes perfectly with "Gnomes on the Runway." Like "Deep Fried Circuits", it is a fitting contrast to the other songs on the record, while bearing enough resemblance that it does not feel out of place. As with much of the rest of the album, the melody finds its niche between two alternating chords. This progression remains for the chorus, but the words are repetitive and funny, and the melody is catchy, making it another easy chorus to sing along to. But the song stands out for its very slow crescendo that takes five minutes to crest. The song builds and builds subtly and artfully until almost exactly five minutes when, rather than a cathartic climax, there is a cool, short decrescendo that brings the song back to where it began. And with that the album is over. You wonder for a second how such a loud and abrasive album ended so peacefully. But you only wonder for a second, because after that pause, you realize you've started it over again.
I'm giving the record a 4/5 rating. It's thoroughly enjoyable but bogs down a bit after "Deep Fried Circuits," but not enough for me to go lower than a 4. Great record, it has my solid recommendation.
Links: Pre-order and Sample here, Download "English Shame" for free
Cheers,
The Flying Dutchman.
Up Next: Legendary post-punk rockers Mission of Burma play Beekman Beer Garden. I'll post a review with pictures.
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