Wednesday, July 8, 2009

Reviews:: Elfin Saddle Ringing For The Begin Again

After yesterday’s announcement, most of the blog world reacted with a collective “meh”, a halfhearted shrug and moved on. The relative security of the list – and keep in mind, this is a list where artists like Chad VanGaalen and Patrick Watson are deemed safe, so obviously, the jury is doing something right – continues a trend where the boundaries placed on successful, independent music continue to contract, refusing to let artists stretch for things beyond their (or maybe our limited) grasp.

That’s probably why I’ve been listening to the new Elfin Saddle record - Ringing For The Begin Again - for the better part of the day. Normally, I need to be in a certain frame of mind to soak in the textures and emotions the band produces, but today it seems very fitting. It’s impossible to listen to the duo’s sophomore record and not formulate an opinion. Delicate moments of folksy beauty pair with sweeping textures of cinematic scope – some fit perfectly, other meander aimlessly - but none float by unnoticed. Bottom line; Elfin Saddle aren’t safe and you’d be hard pressed to find someone saying, “I could take them or leave them.”

The duo – Jordan McKenzie and Emi Honda – have spent their lives experimenting with countless mediums and incorporate those raw, artisitic emotions and feel into their music. As you listen to their output, it becomes obvious that melody and structure are akin to painting within the lines, and are only used for impact and emphasis. From the first notes you are struck with sense of importance. The Bringer starts ominously as Jessica Moss pulls her bow across the strings of her violin and moves around McKenzie’s deep voice, but it’s the gradual progression that really makes an impression. Xylophone and Emi’s haunting vocals are added, but slowly the song starts to rattle on the tracks. The pace picks up, as does the tension, and the band starts pushing you outside of your comfort level.

For a seamless pair, the songs are quite polarizing. When Jordan takes the lead, you settle into his poetry and follow along accordingly, but Emi’s vocals dance theatrically in the shadows letting the beat adds the required muscle. Not being fluent in Japanese, for me her voice can only set tone and move alongside the instruments and it means every track she sings on is consumed differently. Running Sheep feels more like it should be part of an interpretive dance than a record, but that doesn’t make it any less enjoyable.

Many of the compositions are built from inauspicious beginnings. Hammer Song is little more than a repeated acoustic line, repeated vocals and some effective tuba but when Emi’s soaring backing vocals kick in, the song reveals a depth that captivates the listener. Muskeg Parade begins as a ramshackle affair, driven by xylophones, a tuba and other noisemakers, but slowly the band lets the tension build until the song reaches a surprisingly large climax.

As with any art, the results are subjective. It’s the tangents and transitions that really draw you in or push you away. As much as I like this record – I think their use of tempo and patience is remarkable - often I am often left wondering where the songs are going or why they were written. But I guess that’s just it. Art is meant to make us think and ask questions, and without a doubt, Elfin Saddle accomplishes that.