West, Broken
9/24/2008
On their 2007 debut "I Can't Go On, I'll Go On", The Broken West offer glorified rough edges, an abundance of well-crafted tunes laced with Harrisonesque guitar lines (think Abbey Road) and strains of early Wilco. Weeks ago, the band’s label (Merge Records) released their sophomore effort entitled "Now or Heaven," which has earned some positive reviews as a groundbreaking, creative step forward. And while the album is likeable, it lacks the magical spark of their first. After watching the group's set at the Middle East upstairs, I got the impression that the Broken West were in a troubled patch.
Let me take a step back and say that no band should have to follow Hymns on the live stage - this was fatalistic cruelty. These guys were stunningly good. Signed to a small imprint called Blackland Records, their performance (led by charming lead singer Brian Harding) channeled a 23-year old Mick Jagger, Arthur Lee and the brilliant pose of the 1966 Velvet Underground. Lead guitarist and Jeff Buckley lookalike Jason Roberts' incredible playing provided the finesse of Johnny Marr and the panache of Jimmy Page. Their show-stopper was a tune called "St. Sebastian" - one of the best songs I have heard in months. Do yourself a favor and buy Hymns second album "Travel in Herds" or better yet, see them during their forthcoming MTV tour of the US (in Boston 10/5 at Cafe 939).
Now, back to our headliner, who had some big shoes to fill. Certainly that, and having the room thin out as it did made for an uncomfortable situation. Perhaps it's true the Hymns thrive in the live setting, whereas the Broken West are more of a studio band. But never mind the conjecture. Guitarist Danny Iead sailed gracefully through tasty riffs, while lead singer Ross Flournoy provided a voice that was 'made for rock n roll'. The set began with a momentous version of "Gwen, Now and Then" (Now or Heaven’s best song), followed by a flawless rendition of "Perfect Games” (not Now or Heaven’s best song). "Bubble" brought the band back to their essence. Despite its annoying introductory piano signature, "Auctioneer" was enhanced by ancillary keyboardist Jeff Howell's mellow organ sound. Drummer Sean McDonald filled in for Rob McCorkindale, who curiously quit the band just weeks before the NOH tour. Bassist Brian Whelan, who appeared less distracted than his mates, sang perfect harmonies behind Flournoy. But his songwriting debut, "I Got it Bad", was squashed in the live format and presented as a classic rocker. Lost was the moxified Prince sound we hear on the record. A rollicking version of "Down in the Valley" was a slice of heaven, so to speak. Closing the set were the new album’s vibey title track (a shameless copy of the Shins), “Terror for Two” (my favorite), and the wistful "Embassy Row" which did not disappoint. But what was an overall solid performance was held hostage by a pervasive sense of unease.
After the show, I had the chance to catch up with guitarist Dan Iead, who told me that performing live was the band's weak link. "Ultimately, I'd rather be making records than touring" he told me. He also touched on the challenges surrounding the creation of "Now or Heaven" (which included parting ways with former Pernice Brother and indie rock A-list producer/engineer Thom Monahan). The “amicable” fallout from recording with Monahan was surprising to me, and an odd conclusion considering that he was partially responsible for all those fantastic Pernice Brothers albums, not to mention the classic Chamber Strings' "Month of Sundays”. Though Iead was quick to distinguish Now or Heaven as a BW production, my ears can't help but hear TM's finesse scattered throughout.
As proof of my admiration for the Broken West, this was my third show in 13 months. For a group with so much potential and coveted opportunities (major indie label, national distribution, US tour, access), you’d think they would be a bit more enthusiastic about their current agenda. It may explain why Now or Heaven lacks the potion that separates a good album from one that is truly great.
Though neither band acknowledged them, a local trio named Chou Chou La Rouge was the opener, and I had the pleasure of catching the last four tunes of their set. It reminded me of early Luna, but I also felt a wave of Pavement. I regretted not seeing their entire set.
