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BANDS: Punk
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Love of
Everything: HandJob Community
Handjob Community is the second label release from Bobby Burg of Chicago, and something like his fifth full recording as Love of Everything. Most artists have hit their stride by the third or fourth album of their career, particularly if heavy touring has been involved. If such is the case, then Love of Everything needs to reevaluate their whole pace. The virtues of this album are hidden under a rank amateur voice, and the listener feels no desire to pry back the layers. Indie music is now a genre of its own, with attendant expectations of home-style recording and decreased pressure for vocal perfection. This is one of the reasons why it continues to be a valid genre. However, I take umbrage with talented performers who ruin their albums with discordant singing. Is there some inherent value that I have missed in this? Im not addressing a voice of earnest, off-key delivery. Several classic indie bands have sported such endearingly unaccomplished performers. But Burgs voice does not endear: it sounds careless and immature, and its almost impossible to ignore in an otherwise decent album. The first eleven tracks of Handjob Community are slower pieces that sound simply and closely recorded. The last few tracks are more fuzzed out, allowing Burg to play with punk influences and a live sound. Several songs on the album clock in at less than two minutes, and this brevity is a relief. Burgs voice is falsetto, flat, or sharp on almost every song. Tune in to the Casio-tones, strings, pianos and drumbeats, and Handjob Community occasionally pleases. Burg called in a small group of collaborators from fellow bands, and the music is basically solid. The lyrics are also generally clever and occasionally hilarious. Hotel Parties is a horrible start; the singing is almost the worst of the record, and it has no redeeming musical quality. Beginning with Answers improves with a lovely rhythm, despite the cracking falsetto in the chorus. Proud Brave Nothing is a beautiful song with delicate piano and brush. Burgs voice is almost reserved, and the lyrics are bittersweet. The flow of the album is thus established: three or four agonizing songs followed by a piece less grating, where the listener has a chance to appreciate the good lyrics and instruments buried under Burgs singing. Burg has nailed smart lyrics and good music: his voice shouldnt be holding him back. But a solo project should never be attempted unless the creator and his collaborators have the requisite skills to form a cohesive experience. The only way Love of Everything can be a band worth our attention is if Burg breaks the dissonant element. His next collaborator should be a decent singer, or he should learn to sing himself.
This album can be purchased at Redder Records Love of Everything Official Website About LOTD Contact/Staff Advertise Home All content © LEFT OFF THE DIAL 2001-2005. All rights reserved. |
