TreeFort
Talking to the Dogs
(Glacial)
One of the finest 45 minutes of 2010 for me happened as I was driving home from vacation. My five-year-old had awakened from a nap, and with miles of Maine Turnpike ahead of us, he demanded something we could all sing to. I had gotten a preview copy of Talking to the Dogs from Paul Hansbury, Treefort’s singer and songwriter, and it had been in rotation for weeks on the stereo and in the car. My wife, our boy and I had all absorbed the songs.
Every bit as full of genius as the band’s first release way back in the late ’90s, this one has beautifully written rockers that withstand some wear. Carry them around with you and you hear new things all the time. In the car, we sang the chorus to “Vicki,” taking part in the call and response: “I love you, but I don’t even know you/ answer me when I call, when I write, I want you.” —Mark Roessler
*
Ben and Vesper
Honors
(Sounds Familyre)
Ben and Vesper’s second full-length album leaves the listener hoping that maybe the third time’s the charm for this harmonizing couple. Their blend of organic indie and lounge music has potential to be the perfect morning stimulant for the still unconscious brain, but the execution falls flat, and instead we’re left with digressive incantations which are slow-going and slightly odd. The instrumental music is similar to that played on the Weather Channel, but track two, “My Father’s Eyes,” fixes the craving for catchy percussion, establishing an early high note to a less-than-exhilarating 40-odd minutes of play time. The album makes the listener feel, at times, like an awkward intruder who’s just stumbled into an intimate moment between husband and wife in the process of making their lovechild of a CD. —Magdalene Nutter
*
Erland and the Carnival
Trouble in Mind
(Yep Roc/Full Time Hobby)
The U.S. debut by these British folk-rockers is an alluring teaser, meant to whet appetites for the band’s sophomore release, due this March. The four tracks provide a solid foundation for listeners who are curious about the group’s heavily layered approach. In the words of guitarist Simon Tong (The Verve, Gorillaz), the sound being strived for is “Pentangle meets Ennio Morricone meets Love meets 13th Floor Elevators meets Joe Meek.” While at times showcasing psychedelic leanings, the music remains largely grounded in traditional song structures. “Love is a Killing Thing” has roots in the collection of English song archivist Ralph Vaughan Williams, and “Trouble in Mind” is based on blues material first recorded by Alan Lomax. Even with modern touches like trebly guitar and moody synths, room is left for choral interludes and chiming chords reminiscent of Fairport Convention. —Michael Cimaomo
